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CONTENTS.

Page.

BY WAY OF PREFACE 6

THE ANTIQUITY OF POTTERY 7

AN ICONOCLAST 8

EARLY ENGLISH POTTERY g-J2

Dwight Stoneware— The Elers— Salt Glaze John Astbury's Discovery of Flint-
Ralph Shaw— Whieldon— Cookworthy— The New Hall China- Liverpool— Leeds-
Rockingham Ware.

JOSIAH WEDGWOOD AND HIS SUCCESSORS 13-17

MINTONS 18-22

SPODE—COPELAND— PARIAN 23-25

DAVENPORTS 25

CAULDON (BROWN-WESTHEAD MOORE & CO.) 25

AMERICAN HISTORICAL EARTHENWARE 27-31

FOR THE AMERICAN MARKET 32-33

T. & R. Boote — The Old Hall Earthenware Co.— Geo. Jones & Sons— Johnson
Bros.— J. & G. Meakin— Furnivals— Burton Factories - Burmantofts Luca della
Robbia Pottery.

JOHN MADDOCK & SONS 34-35

CHELSEA 36

BOW 37

DERBY 38

CAUGHLEY— COALPORT 39-41

WORCESTER 42-43

G. GRAINGER & CO 43

LOWESTOFT 44

DOULTON 44-46

BELLEEK— W. H. GOSS 46-47

PATE-SUR-PATE, BY L. SOLON 48-49

THE STAFFORDSHIRE POTTERIES 50-51

FRANCE. BERNARD PALISSY „ 52-54

FAIENCE D'OIRON 54-55

FRENCH FAIENCE AND EARTHENWARE 55-63

Nevers — Custode Ware — Rouen— Moustiers — Stra»burg — The Hannongs Sincenny —
Quimper— Lille — Niederviller — Count Custine— Nancy— Islettes — Aprey— Marseilles —
Sceaux— Other Faience Factories— English Potters in France— Longwy— Montereau
— Creil— Gien— Sarreguemines— Choisy le Roi — Bordeaux — Luneville — Montagnon
of Nevers— Clement Massier— Deck of Paris

FRANCE. PORCELAIN 64-68

Poterat— St. Cloud— Chantilly— Vincennes— Sevres— Mennecy— Orleans — La Courtille
— Clignancourt— Rue de Bondy— Pont aux Choux.

LIMOGES ^ 69-73

Early Faience— Alluaud— Baignol— Pouyat— Haviland & Co.-E. Gerard, Dufraisseix
& Co. (Chas. Field Haviland;— Theo. Haviland — Delinieres— Tressemanes & Vogt —
Lanternier— Sazarat.

ITALIAN MAJOLICA 74-78

Hispano-Moresque— Origin of Majolica— Luca della Robbia— Gubbia lustres-
Maestro Giorgio — Castel Durante — Urbino — The Fontano's — Francesco Xanto —
Faenza — Caffaggiola —Composition of Body — Passarin — Modern reproductions —
Ginori.

CAPO DI MONTE and BUEN RETIRO 78

MEDICI 78

RHODIAN 79

GERMANY AND AUSTRIA 80-82

Bottger and Meissen— Hochst— Furstenburg— Frankenthal— Ludwigsburg (Kronen-
burg)— Baden— Berlin.

GERMANY AND AUSTRIA, MODERN 82-86

Gres des Flandres— Jacquelaine of Bavaria — Villeroy & Boch— Hulschenreuther —
Gerbinge— Rudolstadt— Fischer & Meig — Zsolnay — Mehlen — Meissen — Wessel—
Schwarz— Dernheim, Koch & Fischer— Vienna.

ROYAL DANISH 86-88

DELFT AND TOURNAY 88-89

SWEDEN 89 91

Rorstrand— Stralsund— Marieburg— Gustafsburg.

CHINA AND JAPAN 91-93

ROOKWOOD 94-95

THE PROCESS OF MANUFACTURE g6-ioo

BEST, SECONDS, and THIRDS 101

LIST OF WORKS OF REFERENCE ON POTTERY 102

MARKS AND MONOGRAMS 103-112

The frontispiece is from an original engraving after Sir Joshua Reynolds, kindly loaned
for reproduction, by E. Boote, Esq., New York.

Bound in Leather, $1.00 Paper Covers, 25c.

copiously illustrated from rare examples, and with many marks and
monograms now first published.

N EWARK, N.J.

W. P. jervis, 62 James Strfet

ROUGH NOTES ON POTTERY.

By Way of Preface,

WHO has not lingered with a feeling of enjoyment in some great museum
or exhibit, over a collection of ancient and modern pottery, in doubt
whether to admire most some quaint piece with its lizards and newts,
direct from the hand of the great Palissy, or a specimen of modern
china from one of the great European hives of industrial art ; so delicate that it
seems as if the lightest zephyr might waft it away ? Who but has read of the
struggles of Palissy, with a faith so sublime that the doors, the very furniture of the
house, go to feed the kiln ? Of Frederic Bottger, confined by a royal despot who
sought to wring from him the secret he was supposed to possess of transmitting
baser metals into gold ? Or later, the struggles of Astbury and Wedgwood, the
pioneers of English Ceramic art ? You have seen vases and platters from Rhodes,
centuries old, made by Persians driven into exile there, side by side with pieces
varying but little in feeling and design, fresh from the kiln, by the same wanderers,
from the factory at Jeypore. Delicate little bisque statuettes by Cyffle, beside a
priceless piece of Faience d'Oiron, each specimen of which is so carefully located
that it can be traced from hand to hand with as much certainty as the genealogy of
some illustrious princess.

What thought and brain power, what an expenditure of wealth and muscle has
it taken to produce this little cup, worth no more than a few cents; what a number
of hands it has passed through since it lay in embryo in the mountain of King-teh-
Chin, or in the heart of the mine amid the rugged Cornish hills?

And with some such thought has come the desire for knowledge ; but the text-
books have been too technical, have been written from a standpoint too high for
any but the pronounced enthusiast, and the desire has gradually faded — disap-
peared.

In the following pages I have not attempted any exhaustive account of the
history of Ceramics, but have endeavored to give some interesting facts regarding
the best known varieties ; to avoid the inaccuracies of fugitive newspaper contribu.
tions, and in a discursive, but I trust, an acceptable manner to awaken or
reawaken an interest in this most fascinating art. Some features have been intro.
duced that so far as I am aware, have not been attempted before, though this does
not make me any the less diffident in submitting it to your kindly consideration.
This little work is only intended as a primer. Technical terms have been avoided
so far as possible, and when used are fully explained. I have not burdened the
text with ponderous reflections or criticisms, but I hope it will possess one quality
at least, that of accuracy. I am indebted for the historical facts given here to the
works on Pottery, of which I have given a list in another place, together with
voluminous notes on Staffordshire pottery, made when a resident there; and to the
courtesy of manufacturers or their agents where personal intercourse has been
practicable,

340659

fVlu <> £u m L- i bvcc ty

The Antiquity of Pottery.

THE history of Pottery is the history of the world. The art of making it
was practiced by all prehistoric races, from the Neolithic age downwards.
Egyptian slabs, moulded in slight relief or painted in various colors, were
used to decorate the palace of Eameses II., in the 14th Century, B. C.
Fully ten centuries before this time the Chinese, with their earlier civilization and
culture, manufactured pottery. The Egyptians were acquainted with the use of
tin to make an opaque enamel, but do not appear to have used lead, which the
Assyrians two centuries later employed. In Babylon, tablets and cylinders were
impressed with cuniform characters and were converted by firing into imperish-
able MSS. These cylinders show the marks of having been thrown on a wheel.
The British Museum has a fine collection of these tablets, upwards of twenty-
five thousand which Dr. Carl Bezold is now cataloging, the second volume having
been recently issued.

Greek art succeeded Assyrian and flourished from the eighth to the second Cen-
tury, B. C. Black figures on red body are generally ascribed to the earliest period;
the red on black to about the fourth Century, B. C, when their best work was
produced, and following it a period of decadence down to the second Century, B. C.
The Etruscans produced black moulded ware, often with stamped bands, during the
eighth Century, B. C, and from the sixth down to the second, imitations of Greek
vases. From the first Century, B. C. to 500 A. D., the art found its noblest
exponents in the Romans, who gave us the fine Simian ware, of a fine red sealing-
wax color, decorated in reliefs of really masterly modeling and often impressed
with the maker's name. They also largely used the slip process of decoration,
the rude prototype of the pdte-sur-pdte of the present century.

Anything like chronological order in the history of Pottery is almost impos-
sible, but the Persians and Arabs, having learned of the potters of Greece and
Rome practiced the art from the tenth to the seventeenth Centuries, when Chinese
influence began to be felt. The Moslem carried it along the northern coast of
Africa, and after the Moorish occupation of Southwest Europe it took root in
Spain and from there spready to Italy, France and England.

Not the least curious fact is the varying fortunes it underwent; its processes
lost for centuries only to be eventually re-discovered ; its frequent decline in one
country only to again emerge triumphant in another. The use of tin to give opaque-
ness to a glaze is a case in point. It was known to the Egyptians and from them
passed to the Assyrians. The Persians employed it as did also the Arabs and
Saracens, and by them it passed into Europe, was lost and finally perfected by
Luca della Robbia in the 15th Century.

Again: Pre historic pottery had frequently incised lines or small dots made
with a piece of wood and bands of ornaments made with stamps such as a hollow
stick or reed. These indentations were sometimes filled with white pipe clay, forming
the prototype of the Encaustic Tile of to-day. The Egyptians of the 18th and
19th Dynasties, with improved facilities and greater elaboration, produced the same
result. In England it re-appeared in the form of tiles made by Monastic orders for
religious purposes in the twelfth Century. It reached its zenith in the Faience
d'Oiron of the sixteenth Century, and was then apparently lost until Wright re-dis-
covered and Minton perfected it sixty-five years ago.

A striking example of the antiquity of Pottery has recently come to light in
the shape of some pieces found at a depth of over thirty-nine feet in the alluvial
deposits of the Nile. They have been presented to the Bristol Museum by Mr. L.
Horner, an English engineer.

ROUGH NOTES ON POTTEEY.

An Iconoclast.

THE writer of the article on Pottery in the Encyclopaedia Brittanica has very
pronounced views as to what constitutes Art in connection with Pottery.
Here are a few of them :

Dresden Statuettes : 1 1 Some of these, especially the Watteau-like Shepherds,
have a sort of feeble prettiness, but most have only little merit. ' '

Dresden Mayflower : " Laborious to execute and extremely disagreeable to the
eye."

Sevres : " The value of Sevres porcelain is a highly artificial and conventional
one, which can hardly be considered in accordance with the ordinary rules or
canons of art."

1 1 The colors of Sevres porcelain are generally harsh and out of harmony with
the pictures they surround ; the forms of the various vessels, too, are frequently
very ungraceful and utterly unsuited to any plastic substance. ' '

1 ' Perhaps the worst taste of all is shown in some of the vases which have
scrolls and sham metal work moulded and gilded to produce the effect of a porce-
lain vase set in ormolu mounts."

Chelsea : 1 1 The writhing masses of gold on Chelsea ware are probably the most
meaningless and stupid attempts at decoration that have ever been produced."

Derby: 11 Unfortunately the practice of printing the underglaze patterns,
instead of painting them by hand, was introduced. ' '

Worcester: "Unfortunately the old fault of a too realistically pictorial style of
painted decoration still prevails, and an immense amount of artistic skill and
patient labor is practically wasted in producing minute, but not truly, decorative
work."

Wedgwood: "He neglected the special requirements of fictile work. His pro-
ductions, delicate and beautiful as they often are, have the characteristics of anything
rather than Pottery. With great labor and expense he turned out from his work-
shops imitations, necessarily unsuccessful, of ancient engraved gems and cameos, of
jasper, basalt or mottled marbles, of gem-like cut-glass, such as the Portland vase,
and dull copies, feeble in drawing and hard in texture, of beautiful painted Greek
vases. Of natural methods of decoration, suitable to pottery, or of the life and
freedom of the plastic clay rising into graceful forms under the touch of the
thrower's hand, aided by the rhythmical movement of the wheel, he knew nothing.
Nearly all his pottery is dully scholastic and archaeological in style, and therefore
must, on the whole, be regarded as a failure, though often a very clever and even
beautiful failure."

Japanese Cloissonne : u A marvel of technical skill and wasted ingenuity. ' '

EARLY ENGLISH POTTERY.

Early English Pottery.

THE credit of having made the first china in England is generally credited
to John Dwight, who established a manufactory at Fulham in 1671; but
Mr. Solon, in his " Old English Potter," proves conclusively from exami-
nation of the recipes left by Dwight, that the distinction has been erroneously attrib-
uted to him. His stoneware was, however, of remarkable excellence, and of his
figure of Meleager in the British Museum, Mr. Solon says it is worthy of an Ital-
ian Artist of the Renaissance. No light praise from such an authority. Dwight
unfortunately was a man of very secretive habits and much that is valuable was lost
through his having buried most of his models, &c, just before his death.

In Staffordshire, at this period, common ware only was produced, the most nota-
ble being the slip decorated ware ; when the advent of the Elers Brothers, who
came over with the Prince of Orange, in 1688, and a few years afterwards com-
menced manufacturing at Bradwell, near Burslem,
caused a great change. From the clay found at
Bradwell they made an admirable red body, very
dense and semi- vitrified, and decorated with raised
designs made from a metal die. These designs
were impressed by means of dies upon raised clay
on the body of the ware and were not first made
from a mould and fixed on with a slip. The glaz-
ing was effected by throwing a quantity of com-
mon sea salt into the oven when the heat was at
its greatest, the fames fixing on the surface of the
ware, the soda being decomposed by the action of
the silica in the body, giving a granulated appear-
ance similar in effect to the peel of an orange.
This was the first time salt glazing was practiced in Staffordshire, the old myth
about its discovery by a servant of Yates having been exploded. Every possible
precaution seems to have been taken by the Elers to prevent their secrets
becoming known to the Burslem potters. Their store and salesroom at Dimsdale
was a mile away from the works and communication was established by means of
a speaking tube composed of clay pipes. The goods were transferred at night from
the works to the storeroom and only to the latter were strangers admitted. In a
diary describing events between 1697 and 1703 Celia Fiennes writes: 11 1 went to
this Newcastle in Staffordshire to see the making of ye fine tea potts, Cups and Sauc-
ers of ye fine red Earth in imitation and as Curios as yt wch comes from China, but
was defeated in my design, they coming to an End of their Clay they made use of
for yt sort of ware, and therefore was removed to some other place where they
were not settled at their work so Could not see it." The gentle Celia was evi-
dently purposely misled, for long after the Elers left (in 1710) Astbury and others
continued to use the clay, and even at the present day there are as many teapots
there as were ever taken out of it. Only the least intelligent workmen were
employed by the Elers as helpers, but in spite of every precaution two potters

ROUGH NOTES ON POTTERY.

named Astbury and Twyford, simulating idiocy, obtained employment and man-
aged to learn the secrets of the foreigners. In 1710 the Elers left Burslem, John Philip
eventually starting and prospering as a glass and china dealer in Dublin. The
ware produced by the Elers was light and delicate, chiefly small pieces such as
teapots, &c, simple and unpretentious, but on account of the peculiar decoration
it had a certain character of its own and found sale at remunerative prices, teapots
selling in London for 21/ s. Every piece was thrown and turned, no moulds were
used, even the handles being made by hand. ( See illustration p. 9.) They also
produced a very good black ware.

The manufacture of salt glazed ware now became general, and much inge-
nuity and skill was displayed in the production of models worthy of the new
glaze. The Elers had numerous imitators and the trade which had been exclu-
sively local now took a wider range. It also stimulated the potters to a desire to
improve their productions, and many processes were considerably improved. Local
clays had been exclusively used, but to procure greater whiteness clays were
obtained from Devon and then came in 1720 John Astbury 's important discovery
of the use of flint. Whilst traveling to London on horseback — and he was proba-
bly the first pottery drummer who ever started out from Staffordshire — he had occa-
sion to seek the assistance of a hostler, in consequence of some disease in his
horse's eyes. He noticed that the man took a piece of flint, and burned it to a
fine powder and blew it into the horse's eyes. Astbury noticing the beautiful

whiteness of the powder conceived
the idea of using it in his pottery.
The experiments he subsequently
made were eminently successful.
Wedgwood's improvement of cream
color pales into insignificance beside
a discovery such as Astbury' s, and
though the manner in which he
obtained his information from the
Elers is open to criticism, his sub-
sequent discoveries and improve-
ments, in which the whole dis-

trict shared, should give him a prominent position amongst the old Staffordshire
potters. Many writers credit this discovery to his son, but this is plainly an error.
Astbury' s son Thomas, the only one of whom we have any information, had a busi.
ness at Lane Delph in 1725, improved on his father's ware and gave it the name of
" Cream color." He made a great variety of goods, red and black bodies, white
stone ware with salt glaze and cream color, decorated with tortoiseshell enamel.
Amongst his contemporaries were Ralph Shaw, who invented the slip kiln and in a
primitive form the use of stilts, &c, in firing ; John and Thomas Wedgwood, who by
their experiments, particularly with clays, advanced considerably the quality of the
body, and Whieldon, whose name more than any other is associated with early Staf-
fordshire histoiy. He was a manufacturer at Little Fenton, and Astbury, Spode and
many other well known potters served their apprenticeship to him. Josiah Wedg-
wood when quite a young man was his partner, and during this time his mottled
and other wares were of high character. His early productions consisted of knife

EARLY ENGLISH POTTERY.

handles, snuff boxes, &c, in a beautiful tortoiseshell enamel, and these he usually
carried around himself in a basket and being much like agate they found a ready sale.

" Rough potters seemed they, trading soberly,
With panniered asses driven from door to door." — Wordsworth.

He successfully imitated the Chinese double shell teapots the outer one
pierced with a design of leaves, &c, covering the shape with a sort of lace work,
very effective in appearance and really admirable specimens of the potter's art.

Turning from the Earthenware to China, about the middle of the century the
Chelsea, Worcester and Derby works were started, and these are all treated under
their respective headings. From 1760 to 1772, William Cookworthy manufactured
at Plymouth and Bristol (plate 1, figures 6 and 7) the first hard porcelain ever made
in England, having discovered the half decomposed Kalonic clay in Cornwall.
He disposed of his patent to Richard Champion, who in turn sold it to a company of
Staffordshire potters — Enoch Wood amongst the number — who commenced its
manufacture at Keeling' s pottery at Tuns^all ; but in consequence of a disagree-
ment between the partners it was transferred to the New Hall Works, Hanley.
Here china, precisely similar in body and glaze to that made at Bristol, was pro-
duced under the direction of Champion from 1778 to 1810, when bone china super-
seded it. The manufacture ceased altogether in 1825, and a part of the premises
are now occupied by Thomas Booth & Son.

Early in 1700 Liverpool had extensive manufactories of Delft ware, though
even in the previous century some pieces were made there, a Delft mug in the Liver-
pool Museum, marked "John Williamson 1645,"
being generally considered as of local make. But
it was not until Sadler's invention of printing from
copper plates that the art assumed importance.
Wedgwood, amongst many others, sent his ware to
be printed at Liverpool. Richard Chaffers was
then established as a manufacturer and in
the matter of colors Wedgwood regarded him as
no mean rival. About 1760, Pennington (plate
4, figure 12) was making Delft, and appears to
have divided the honors, especially in punch bowls,
with his rival, Shaw. He eventually returned to
Worcester. In 1790, Richard Abbey established a
pottery, which in 1797 passed into the hands of
Messrs. Worthington, who called it the Hercu-
laneum Pottery (plate 4, page 14) making a good
quality of printed and painted earthenware, jugs
with base relief figures and terra cotta. The
workmen were brought from Staffordshire, performing the journey in canal boats.
In 1833 the works passed into the hands of Case, Mort & Co., who used the liver as
a trademark, (plate 4, figure 13). In 1836, another change in the proprietary took
place and the works were finally closed in 1841.

At Leeds, as early as 1770, considerable progress had been made especially in
that pure cream color ware with either embossed " or pierced edges, for which it
attained so considerable a celebrity.

ROUGH NOTES ON POTTERY.

At Swinton, near Rotherham, late in the last century, was produced that beau-
tiful brown glaze, afterwards designated as Rockingham, and which has since been
imitated by nearly every pottery, but the care taken in its original production is
lacking, and the Rockingham of to-day no more resembles the original than u C. C."
does the finest china. They also produced at Swinton some very finely dec-
orated earthenware vases, and in 1825 added the manufacture of china. The artis-
tic element prevailed to such an extent, that quite as important a part, that of
commercialism, was overlooked, with the inevitable results. (Plate 4, figure 39).

Vase by Solon. (See " Pate-sur-Pate," page 48.)

STAFFORDSHIRE.

Staffordshire.

Josiah Wedgwood.

No potter has had more worthy historians
than Josiah Wedgwood. Meteyard, Jewitt and
Smiles have each written con amove. The story
of his life has been told so well, so often, and
with such a measure of appreciation that the
present sketch fulfills its purpose, if it incites
the reader to a closer acquaintance with the
subject. There had been Wedgwoods before
him in the pottery business, and more than one
has left his imprints on the sands of time. The
first example of pottery bearing the name of
Wedgwood is a puzzle-jug of brown ware, the
name " John Wedgwood, 1691," being incised
in the clay. John and Thomas Wedgwood in
1740 were experimenting with and testing the
qualities of various clays, and were the first pot-
ters in Staffordshire who had a tiled roof to their

works, all having hitherto been straw-thatched. Dr. Thomas Wedgwood was
looked upon as the leading potter of Burslem, and made good agate ware and pieces
in the style of the Elers. Aaron Wedgwood discovered that " C. C." could be made
white by adding zaffre to the glaze, and he was the first to glaze ware by immersion.

Josiah Wedgwood was born at Burslem, July 12, 1730, the youngest of thirteen
children. When his father, Thomas Wedgwood, died, in 1739, Josiah was taken
away from school, so that it was entirely by his own efforts he acquired the educa-
tion that he possessed later in life. Shortly afterwards he was employed in his
brother's factory, and early developed a taste for modeling, and in his fourteenth
year was apprenticed to him as a thrower. Three years previously, in 1741, he
had a virulent attack of small-pox, which left a distressing pain and weakness in
his right knee, and this interfered so much with his work that he was obliged to
give up the thrower's bench and become a moulder. Much of his time was spent in
experimenting with different clays, and when, in 1749, his apprenticeship ended,
his brother was so opposed to his " flights of fancy " that he declined to take him
as a partner. He continued to work at the bench, studying hard in the meantime,
and when he was twenty-two he entered into partnership with John Harrison, of
Cliff Bank, near Stoke. Two years later, Harrison, not satisfied with his share of
the profits, withdrew, and the works were shortly afterwards pulled down. In
1754, Wedgwood formed a new partnership, this time with Thomas Whieldon, of
Fenton, one of the most eminent potters of the day, and the man above all others
calculated to encourage Wedgwood in his efforts to advance their art. He pro-
duced a beautiful green glaze for earthenware, and an imitation of precious stones
applied to small articles for mounting. His knee so troubled him as to necessitate

ROUGH NOTES ON POTTERY.

frequent absences from the factory, and he was obliged to confide his secret to
others, and in a short time green glaze was largely made at other factories. His
investigations in other directions he steadily and persistently pursued, never con-
tent with what he had accomplished, striving always after new bodies and glazes,
and to advance the art to which he had devoted himself. At the expiration of the
term of partnership in 1759, Whieldon retired with a considerable fortune. Wedg-
wood returned to Burslem and rented part of the Ivy House Works, where he made
his own models, saw to the firing and superintended everything. Here, amongst
other things, he made perforated dessert-plates and white medallions, and had soon
to considerably increase his force and enlarge his works. His fertile brain was con-
stantly at work, either on new mixtures, improving the tools used in manufacturing,
or on plans for bettering the means of communication with the outside world, for
the want of this latter was a serious obstacle in the development of its trade, which,
thanks to his efforts, had now considerably increased. The lanes leading out of
Burslem were narrow and tortuous, and on account of their roughness the horses
laden with clay or pottery frequently fell down. Slow progress only could be
made, the expense of transportation was necessarily great, and vexatious delays
were more the rule than the exception. Mainly owing to his strenuous exertions,
these lanes and bye-paths gradually gave place to good highways, and later, the
cutting of the Grand Trunk Canal, of which he turned the first sod, made commu-
nication easier and cheaper. But this was the result of the hardest kind of work
and took years to accomplish. In 1763 Wedgwood greatly improved the quality of
table earthenware, and the Queen, to express her approval of a service he presented
to her, ordered it to be called Queensware. It quickly came into general use, and
large quantities were sent to Sadler and Green, of Liverpool, to be printed ; but the
expense and loss on the double journey were too inconvenient, and he acquired the
right to use the process himself. About this time, in a journey to Liverpool, Wedg-
wood's knee was crushed against the wheel of a cart, inflammation set in, and he
was confined to his room in Liverpool for some time. It was then he made the
acquaintance of his future partner Bentley, whom he appointed as his Liverpool
agent. A great friendship sprung up between the two, a friendship delightful to
contemplate between the inventive, self-educated potter, 'and the polished man of
the world, educated and refined, a contributer to the leading journals of the day,
whose courtly manners gave an added charm to Wedgwood's triumphs. Henceforth
Wedgwood took no important step without consulting him, and shortly afterwards
a partnership was formed between them, so far as the ornamental part of the work
was concerned, Bentley residing in Landon and having full charge of the show-
rooms, and also the works which Wedgwood started at Chelsea, where a number of
modelers and artists were employed. (Plate 4, fig. 20). Wedgwood was the first to
adapt the turning-lathe to the manufacture of pottery, and by its aid his copies of
antique vases, which had already acquired much notice, were vastly improved.
One of his great ambitions was to revive the classical Greek works and thanks to
the Eoyal patronage bestowed upon him, many eminent scholars and owners of pre-
cious antiques rendered him important help. Models were supplied him, and these
he reproduced with so much fidelity, and with such an appreciation of their beauty
that a great demand sprang up for them. He was kept busy day and night; a large
export trade was developed; artists of ability flocked to Burslem, and not only

STAFFORDSHIRE.

Wedgwood, but other factories, whose owners had reaped the benefit of his experi-
ments, grew inadequate t° meet the demand; the population largely increased and
a period of prosperity reigned. Not being able to find suitable premises in Burs-
lem, he purchased the Ridgehouse estate, two miles distant, and erected there a vil-
lage and factory that he christened Etruria. Wedgwood married a distant connec-
tion, Sarah Wedgwood, January 29, 1764, and she was in all respects all that man
could desire. Handsome and finely educated, she entered heartily into her hus-
band's plans, learned his cipher, so as to relieve him at his work, nursed him with
unfailing tenderness, cheered and encouraged him, and proved herself one of the
best and tenderest of wives. His leg still troubled him, and his eyes also constantly
failed him, but his dauntless courage never forsook him, and he not only continued
but enlarged his studies. Four years afterward his leg was amputated, and hence-
forth he walked through life with a wooden leg; and surely never wooden leg has
left such echoes down the corridors of time. The doctors could afford him little
relief for his eyes, and we find him urging Bentley to come to Etruria and acquaint
himself with its secrets, so that he could at any time continue the works. Wedg-
wood's opposition to the extension of Cookworthy's patent for the manufacture of
china, applied for in 1753, by Richard Champion, to whom Cookworthy had trans-
ferred it, has been severely criticised as factious in the extreme; but when it is
remembered that of all Wedgwood's inventions and improvements he only pat-
ented one unimportant one, it is evident that he was prompted only by a desire for
the general good, and was strong in his convictions that if the raw materials were
thrown open to all : u a variety of experienced hands would probably produce more
advantage to the Nation in a few years than they would ever do when confined to
one manufactory, however skillful the director might be. ' ' And though the Lords and
Commons said " No," Wedgwood was undoubtedly right. His discovery of " Jas-
per," gave additional impetus to the Etruria works, but cobalt, by which the body
was stained, was an expensive material, and, in 1777, he invented a jasper dip.
Jasper is composed of sulphate and carbonate of baryta in combination with flint
and clay, stained with oxide of cobalt. It has the peculiar property of receiving
through its whole substance a metallic coloring matter, which no other body, ancient
or modern, possesses. The secret of its manufacture was preserved at Etruria for
about twelve years. Flaxman and other artists furnished designs for bas-reliefs,
cameos, etc. , and the highest possible standard of excellence was insisted on and
maintained. Whenever apiece that did not come up to his standard of excellence
caught Wedgwood's eye in his peregrinations through the works, to make assurance
doubly sure he would smash it with the cane he was in the enforced habit of car-
rying. His crowning achievement in Jasper, the copying of the Portland vase, a
full account of which is given elsewhere, is so well known as to need but passing
notice here, except perhaps to record the date, 1790.

"Bid mortality rejoice or mourn
O'er the fine form of Portland's mystic urn." — Darwin .

It is by Jasper that Wedgwood's name is best known, though, in the course of
his busy life, he found time to perfect an Egyptian black body ; improve the quality
of table earthenware ; make a cane-colored biscuit and terra cotta, and a hard por-
celain for crucibles; invent an instrument for measuring the heat during the firing

ROUGH NOTES ON POTTERY.

of the ware ; make a journey to Cornwall to investigate the clays found there, and
another to Meissen with a view of purchasing and working the Royal works there.
He was also an enthusiastic and liberal supporter of slavery abolition, was treasurer
of the Grand Trunk Canal and a member of many learned societies. He died
January 3, 1775, aged sixty-five, and was buried in the old parish Church, at Stoke.
Five years previously he had taken into partnership his three sons, John, Josiah and
Thomas, and his nephew Byerley. John and Thomas retired, and the firm became
Josiah Wedgwood, Son & Byerley.

His influence on English pottery can hardly be overestimated. Nearly
always racked with pain, at times almost blind, with only the most rudimentary
education, by his genius, his incomparable patience, with the most marvellous rapidity
of conception and adaptability he recovered much that was deemed lost, and added
new standards of excellence in ceramics that will endure for all time. But if you
would know more of this wonderful man, of his home-life, of his love and friend-
ship, of his early struggles, his care for his workmen and of his ultimate triumph,
and care but little for the technicalities of his art, read Smile's story of his life.

One is apt to grow enthusiastic over such a subject, but in forming an estimate
of Wedgwood's influence on English Ceramics we must be careful not to let our
enthusiasm outweigh our judgment. And in this consideration, John Dwight, of Ful-
ham, is an important factor. So, too, are Whieldon and Astbury. The life of the
latter, if it is ever written, will be of absorbing interest and tinged with romance for
which I know no parallel in industrial biography.

After the death of Wedgwood the management developed upon Thomas
Byerley, who died in 1810. In 1823 the third Josiah Wedgwood became a partner,
and four years later his brother Francis was admitted, and the firm name was
changed to Josiah Wedgwood & Sons. In 1809 the manufacture of china was com-
menced, only however to be abandoned nine or ten years later. About ten years
ago it was revived. John Boyle and Robert Brown were both partners for a few
years, the firm eventually consisting of the present members, sons of Francis
Wedgwood, Godfrey, Clemence and Lawrence. In 1860, Majolica was added to the
firm's productions, and in 1865 was revived the solid jasper body.

Lessore, an exhibitor in the Paris Salon of 1831, and an artist of great ability,
disgusted with the divisions caused amongst the Sevres artists by his originality in
decorating pottery, came to England in 1858, and after being a short time at Min-
tons, settled down at Wedgwoods'. His works were highly prized on account of
their originality and breadth of treatment, he being the first artist to employ free
brush work on pottery, paintings having hitherto been mostly in miniature and
very highly finished. He died in 1876.

Mr. Thomas Allen about the same year was engaged as principal figure painter
and Art Director. He is a talented artist of original conception and artistic exe-
cution, careful in drawing and composition and has produced a number of important
pieces, of which one, "Orpheus and Eurydice," dwells particularly in my memory.

For the rest, old models, old engravings and old methods are paramount at
Etruria. (See Plate 3, Fig. 18.)

There are two monuments to Josiah Wedgwood: a statue in bronze in the
Station Square at Stoke, and the more important one at Burslem, the Wedgwood
Memorial Institute.

ROUGH NOTES ON POTTERY.

Mintons.

TEN years before the death of Wedgwood there was working for the Spode
factory an engraver named Thomas Minton, who was destined to start an
industry the beauty and extent of which he probably never dreamed of.
In 1788 he erected at Stoke a house and works on the site which has since
become so celebrated. Wedgwood was then in his zenith. Spode and the Ridg-
ways had already obtained some celebrity for earthenware, while in china, Derby,
Worcester and Caughley divided the honors. In 1790 Thomas Minton entered into
partnership with Joseph Poulson, who had been manager for Spode's, and they
were joined in 1793 by Mr. Pownall, who retired in 1800. Poulson died in 1809,
leaving Thomas Minton to conduct the business alone. Up to 1798 earthenware
alone had been made, and the staple of the business consisted of white ware orna-
mented with blue, in imitation of Nankin, and the abilities and experience of
Thomas Minton as an engraver had acquired for the firm a good commercial repu-
tation. In 1798 the manufacture of semi-transparent china was commenced, but it
was not a success and was abandoned in 1811.

Thomas Minton had two sons, Thomas Webb and Herbert, the latter born
Feb. 4, 1793. Both were admitted into partnership with their father in 1817,
Thomas W. retiring in 1821, to enter the church ; and Herbert, owing to family cir-
cumstances, nominally retiring from 1823 to 1831, when on his father's death he
succeeded to the business. He shortly afterwards admitted as a partner Mr. John
Boyle, who remained for about five years and then joined the firm of Wedgwood,
his place being taken by Mr. Minton's nephew, Mr. Michael Daintry Hollins, a gen-
tleman whose genius and skill as a chemist have not received the recognition they
deserve, and but for whom Minton's triumphs would probably never have reached
the perfection they attained, though to his credit be it said that Herbert Minton
himself was always ready to acknowledge his great obligations. In its last phase
the firm for the ten years preceding his death consisted of Mr. Minton and his two
nephews, Mr. Hollins and Mr. Colin Minton Campbell.

No better estimate of the character of Herbert Minton and his influence on
ceramic art is to be found than the eulogy pronounced by the eminent critic, Mr.
Digby Wyatt, who said : " Mr. Herbert Minton's industrial career as assistant and
principal, may be looked upon as extending over some fifty years of the present
century, a period hitherto without a rival in the history of civilization — one of
social progress and commercial development, of restless energy of thought and
untiring labor, crowned by innumerable conquests of mind over matter. Of that
apparently inexhaustible activity, intellectual and physical, which has formed the
dominant characteristic of the past half century, Mr. Minton offered a perfect
type, and it was rather through this element than any other that his influence was
so powerful as a stimulant and fertilizer. Neither a man of profound research nor
an educated artist, neither an economist nor an inventor, by courage and ceaseless
energy he brought to bear upon the creation of his ultimately colossal business,
such a combination of science, art, organization and invention as can be paralleled
only by that rare union of qualities which impressed the stamp of genius upon his

MINTONS.

great predecessor, Josiah Wedgwood. A clear head, a strong body, rare powers of
endurance and observation, a cool judgment, in spite of a singularly sanguine tem-
perament, a kindly nature and genial manner, were the leading characteristics of
Mr. Minton ; and with such natural gifts, and an amount of perseverance to which
I know no parallel in history (excepting, perhaps, that displayed by the celebrated
potter, Bernard Palissy), he was enabled to benefit his country, while building up
his own fortune, and to do credit to the age in which he was born, thereby winning
lasting honor for his memory."

At the beginning of the eighteenth century the Minton works gave employ-
ment to just about fifty hands. At Herbert Minton's death upwards of fifteen hun-
dred were in active employment. It is computed that in 1840, the value of English
ceramic exports amounted only to about £573,000, while in 1858 they were about
two and a half million pounds sterling, and undoubtedly to this large increase Mr.
Minton's activity largely contributed.

In 1848 Minton was fortunate enough to secure the services of Mr. Leon
Arnoux, a gentleman who had long enjoyed the reputation of being, perhaps, more
profoundly versed in the mysteries of ceramic manufacture than any other savant
in France. Engaged originally as the potter of the establishment, he displayed
such a thoroughly artistic training that he was reluctantly induced to combine with
it the post of art director, a reluctance difficult to understand, as it was impossible
to overrate his eminent fitness for the position. Mr. Arnoux, with great heartiness,
entered into his principal's views, and too large a measure of praise cannot be
allotted to him for his unrivaled skill and artistic execution. He might fitly be
compared to the steam that drove the machinery. Death has but a year or two ago
severed his connection with the firm, and it may be of interest here to quote his
vindication of the peculiar class of body of which English china is made.

Mr. Arnoux says: u Certain very particular amateurs bring an objection
against British porcelain, and say that, as it has phosphate of lime for its base
instead of being composed entirely of pate f rittee, it has no claim to be called pate
tendre. This objection appears to be nearly groundless. The chief beauty of the
pate tendre consists of the complete amalgamation of the colors with the glaze, and
also in its capability of receiving certain tints which cannot be applied to any
other kind of porcelain, such as turquoise blue, emerald green and rose du Barry.
If our porcelain combines these qualities in the highest degree — if its whiteness and
transparency have been increased by the employment of phosphate of lime, who
has any reason to complain ? Our productions possess all the advantages of the old
porcelain, and have, in addition, several accessory ones. We shall therefore do
wisely to uphold this manufacture, since it brings us nearer to perfection."

In 1821 the manufacture of china was resumed, the earlier patterns being imi-
tations and adaptations from old Derby china. A few years later, when the Derby
factory began to decline, many of the workmen joined the Minton works, and the
decorations rapidly improved. Bancroft, Steel and Hancock were among the prin-
cipal fruit and flower painters ; John Simpson was the principal figure painter from
1837 to 1847 and Samuel Bourne was designer-in-chief. He was succeeded by M.
Jeannest, an industrial artist of great ability. M. Carrier — now Carrier-Belleuse —
was soon after the chief modeler, and it is a tribute to his skill and the grace with
which he invested his productions that they have remained to this day in popular

20 ROUGH NOTES ON POTTERY.

demand. Nor should the name of M. Protat be omitted. The quality of the body,
the beauty of the glaze, were both improved, and colors, before but imperfectly
realized, were produced in great purity. The jurors' award of the exhibition of
1851 was a fitting acknowledgment of the credit due to Mr. Minton for the progress
made in the ceramic art. (See Plate 4, Figs. 18, 19.)

In 1849, with the assistance of Mr. Arnoux, Mr. Minton resumed the attempt
to make hard porcelain, and succeeded so well that in 1851 vessels for the labora-
tory were exhibited and pronounced by experts as superior to those of Meissen and
Berlin, which had formerly been imported in large quantities, about £60,000 worth
annually. About the same time the manufacture of Parian was commenced, of
which we have spoken freely in the article under that heading.

But the crowning glory of his life and works was the revival of the manufac-
ture of encaustic tiles. Mr. S.Wright some years previously had taken out a patent
for their manufacture as an original invention, but only such specimens were
obtained as encouraged the hope that success might ultimately be obtained. From
him Mr. Minton purchased the patent and set to work with a fixed determination
to succeed. He had then to solve the problem of firing the various colored clays so
as to insure perfect uniformity of color throughout the body, to so temper them as
to prevent and correct the irregularities of shrinkage, induced by the different
materials used to produce the desired colors, and to extend the range of colors used
by the potters of the middle ages. After months of patient research, of failure and
disappointment, success eventually crowned his efforts, and Minton tiles are known
and used the whole world over. Many difficulties were encountered, difficulties
of too technical a character to enumerate here, but Mr. Minton's dogged determi-
nation, aided by the valuable service and knowledge of both Mr. Arnoux and Mr.
M. D. Hollins, triumphed over all, and the honors are fairly divided among them.
Toward the close of the term for which the patent had been taken out, Mr. Minton
allowed the Worcester Porcelain Company to manufacture encaustic tiles under a
license, but the Worcester clays were unsuitable and they abandoned the manufac-
ture, and were succeeded by Maw & Co., who shortly after removed
to Broseley.

About 1840 Mr. Prosser patented a process for solidifying china clay in dry
powder by subjecting it to great pressure in iron molds, obtaining a substance of
extraordinary density and evenness of texture. This Minton purchased and used
for the manufacture of buttons, of which exceedingly large quantities were pro-
duced. Later, it was applied to the manufacture of tesserae, for the formation of
pavements, in imitation of those of the ancients.

Some specimens of majolica ware, which had formed part of the collection of
the Duke of Buckingham, coming into the hands of Mr. Minton, he determined to
reproduce them, and with what success is well known. For fifteen years he was
the only manufacturer of majolica in England. It must not be understood that Mr.
Minton was alone in the race. He had keen competitors in Copeland, Bidgway,
the Coalport Works and others. Every faculty had to be exercised, every energy
stimulated to keep abreast, but the competition was a generous one.

It was not alone as a manufacturer that Herbert Minton has claims upon our
gratitude. He did much to ameliorate the condition of his work people. By his
kindly intercourse with them he endeared himself to their hearts; he built

MINTONS.

and endowed a church and schools for their benefit, and his genial nature
when in contact with them lightened their daily burden. His example of perse-
verance was an incentive to them all, and no matter what success he achieved his
energies never relaxed ; there could be but one watchword for him, " Forward."

A dessert service exhibited in London in 1851 was deemed by the Queen a fit-
ting present to the Emperor of Austria, Mr. Minton himself making the presenta-
tion on her behalf. At the court of this monarch he met with a very flattering
reception. At the American exhibition of 1853 he followed up his previous
triumphs, and took the opportunity of making a tour through the United States.
At the Paris exhibition of 1855 he had conferred upon him the Cross of the Legion
of Honor.

He died April 1, 1858, and was succeeded by his nephews, Mr. Colin Minton
Campbell and Mr. Michael Daintry Hollins.

Having laid the foundations and partially constructed the edifice, Herbert
Minton was fortunate to have two such worthy successors as Messrs. Campbell and
Hollins. The latter was an excellent chemist, whilst Mr. Campbell had the pecu-
liar faculty of being always a little ahead of public taste and as a consequence
appeared to lead it. The encaustic tile business was run as a separate concern
under the style of Minton, Hollins & Co., and when these gentlemen dissolved part-
nership in 1867, Mr. Hollins continued that part of the business. Mr. Campbell
retained control of the remainder of the business, changing the style from " Her-
bert Minton & Co." to " Minton & Co.," and shortly afterwards admitting into
partnership his cousins, T. \V. and Herbert Minton. After Mr. Campbell's death,
in 1883, the business was transformed to a limited liability company, and is now
styled "Mintons, Limited."

In 1870 they patented the invention of mosaic painting, by which the painting
is indelibly produced upon tesserae, which may be fitted either to a curved or flat
surface. Every touch of the artist is preserved and it is perfectly impervious to
the effect of either weather, time or climate. The stairway at the South Kensing-
ton Museum contains some excellent specimens of this work, finely executed by
Thomas Allen.

At the various exhibitions fresh honors accrued to them, and their display at
Philadelphia came as a revelation to Americans, who had long been satisfied with
cheap and inartistic White Granite. Of the artists employed Thos. Allen was the
principal figure painter, Hy. Mitchell for landscape and animal subjects, R. Pils-
bury and Thomas Simpson for flowers, Charles Toft and Simon Birks, modelers.
Mr. L. Jahn was also a clever figure painter and was afterwards art director for
Brownfields, Mr. Thomas Allen accepting a similar position in the historic house of
Wedgwoods. The Mr. Joseph Stringer, so frequently quoted by Mr. L. Jewett,
was the correspondent, a kind and genial gentleman, with whom the writer was in
close intercourse for a number of years. He had been the editor of a newspaper at
Stafford, and had aspirations to do for Minton what Jewitt had done for Wedg-
wood, but death took him before his loving task was completed.

In 1870 Mintons erected an art studio at Kensington, and associated with it
were such artists as H. S. Marks, A. R. A., W. H. Coleman, Colonel Stuart Wortly
and others.

After the Franco-German war a large number of artists from both countries

ROUGH NOTES ON POTTERY.

came to England and many found employment with Mintons. Amongst them were
M. Boullemier, a painter of very dainty figure subjects; M. Mussill, a bird and
flower painter of great force and originality ; Mr. Palm, an adept in the use of
colored golds, and last, but by no means least, M. Solon, the pdte-sur-pdte artist,

whose reputation needs no
endorsement here. (See illus-
tration page 17.)

The vase shown in our il-
lustration, painted by Mussill
in underglaze colors, is nearly
six feet high, and was pur-
chased by Messrs. Tiffany &
Co.

Mr. H. Minton Robinson is
chairman of the company ; Mr.
George Leason has long been
the practical potter, an oner-
ous position he adequately
fills. After the death of Mr.
Arnoux, Mr. Jahn was se-
lected as Art Director. With
such an aggregation of talent,
with every improvement and
facility that human ingenuity
can devise, it is not surprising
that, in face of the vigorous
efforts of competitors, the
work of building the edifice
steadily continues, and if no
precious secrets in ceramics
have been added, all that is
meritorious in the old has
been duplicated ; the standard
of excellence is maintained
and many graceful thoughts
and lofty fancies find expres-
sion, sometimes in enamels
that rival those of the Chi-
nese ; sometimes in the poeti-
cal productions of M. Solon,
or in evidences of technique
and craftsmanship creditable
alike to the craftsman and the
firm. (See Plate 2, Fig. 12.)

Vase by Mussill.

SPODE-COPELAND.

Spode=Copeland.

THOMAS WHIELDON was one of the best known of the old Staffordshire
Potters. Apprenticed to him was a youth named Josiah Spode, who, in
1770 started in business for himself at the works in Stoke previously car-
ried on by Turner & Banks. William Copeland, a traveler, made the
acquaintance of Spode and offered to sell his goods. The enterprise was very success-
ful and a warehouse was taken in London. Trade increased and Copeland became
a partner, managing the London business, whilst Spode devoted himself entirely to
the manufactory. They made an excellent earthenware body, and in 1800 com-
menced making porcelain. This was under the second Josiah Spode. Mr. Prime
credits Spode with the introduction of bone ash in the composition of a china body.
Simeon Shaw, in his "Chemistry of Pottery," ascribes it to William Littler. Mr. A.
H. Church, in his " English Porcelain,'' unhesitatingly ascribes it to the Bow fac-
tory. The first patent taken out in 1744 gives as the ingredients : one part of pot-
ash, one part of sand or flint, and from one to four parts of porcelain clay called
unaker, from the Cherokee Territory, North America. In the second patent the
unaker is replaced by other materials. Two parts Virgin earth, produced by the
calcination of certain animals, vegetables and fossils, are directed to be mixed with
one part of flint or sand and then fritted, then of this frit two parts are taken and
mixed with one part of pipe clay. Analysis of the fragments discovered on the site
of the Bow works, show 44.3 per cent, of the bone ash or phosphate of lime in
their composition. Analysis of Chelsea, Worcester and Caughley china made dur-
ing the second half of the eighteenth century prove however that the employment
of bone ash was very widely extended about the year 1760. In "Handmaid of the
Arts" published in 1758, calcined bones are given as one of the ingredients for mak-
ing a true china.

Five years later Spode introduced an opaque porcelain, known as "Iron-
stone China," and its superiority over the ordinary table earthenware won it instant
success and a host of imitators. Three generations of Spodes, all named
Josiah, and three generations of Copelands, have always constituted the firm and
none others, with the exception of Thomas Garrett, who was a member from 1833
to 1847. The Spodes died in 1797, 1827 and 1829 respectively. The original
William Copeland died in 1826, and his son, W. T. Copeland, succeeded him. He
was familiarly and lovingly spoken of as "the old Alderman." He sat in Parlia-
ment for Coleraine from 1828 to 1832, and for Stoke-upon-Trent from 1832 to 1852,
when he lost his seat, but was re-elected in 1857, and sat until 1865. From 1847
to 1867 he conducted the business as sole partner, and then admitted his four sons,
who now carry on the business, into partnership. Their earthenware has always
been very popular, the glaze of fine texture and of ivory tint, which has rather
interfered with its success here, though why the harsh coldness of white wares
should be preferred, I am at a loss to imagine, especially in conjunction with the
now fashionable blue decorations. In celebration of its centenary Messrs. Copeland
last year revived Spode' s Tower pattern in zaffres blue, and it bids fair to duplicate
the success it achieved a hundred years ago. This pattern was originally engraved

ROUGH NOTES ON POTTERY,

by Daniel Greatbatch, who died at an advanced age some forty years ago. It is a

very interesting memento of a
period of which we have none
too full information.

In tiles Messrs. Copeland pro-
duced some truly magnificent
friezes, and by granulating the
surface, very broad and effective
results are obtained.

The replica of an old Chelsea
dinner set loaned to them by the
Grand Duchess of Mecklenburg-
Strelitz was successfully accom-
plished, the imitation of the
paste and glaze being excellent.
The first production of Parian, a
short account of which appears
elsewhere, is to be credited to this
firm. This was fiercely con-
tested at the time by Mintons,
who were also experimenting in the same direction and issued samples almost sim-
ultaneously with Copelauds, but the weight of evidence seems in favor of the latter
firm.

In jeweled china, Messrs. Copeland have been very successful, differing from
Sevres, and superior to it from a ceramic standpoint. These few examples will give
an idea as to the diversity of the firm's productions. It is impossible to write any
account of Copeland' s without some reference to the veteran flower painter, Mr. C.
F. Hiirten, whose magnificent and life-like flower-pieces have contributed in no lit-
tle measure to the success of the firm. Nor of Mr. R. F. Abraham, a graduate from
the Coalport Works, who long filled the position of Art Director, and whose recent
death the writer, amongst the humblest of his friends, has not ceased to mourn.
Mr. Lucien Besche, a versatile figure painter, achieved some of his most successful
work here. Mr. Robert Abraham and Mr. J. Hewitt, both figure painters and bril-
liant colorists, were also employed. Mr. W. Yale was, and I hope is, the leading
landscape artist, his studies in monochrome being particularly successful. Mr.
Samuel Alcock is the present chief figure painter, his work being characterized by
excellent drawing (Plate 4, figs. 16 and 17, and Plate 2, fig. 16,) and very careful
and miniature-like finish.

PARIAN.

Parian.

PARIAN was first made by Copeland and Sons, Stoke-upon-Trent, and exhib-
ited by them at the London Exhibition of 1851. It is an imitation of the
marble of Paros, from which it (probably) derives its name. It is composed
of three-fifths of China-stone and two of feldspar. It is non-plastic and there-
fore cannot be modeled. It is therefore made into slip and poured into a plaster
mould. The plaster absorbs the water and leaves the solid clay adhering to the
sides of the mould. It is used principally for statuary, generally cast in several
pieces and joined together before firing, by means of slip. A figure of Fanny Ellsler,
the dancer, and some other pieces have elaborate lace trimming, as delicate and cob-
webby in appearance as the real article. It is in fact real lace which has been dipped
in slip and draped on the figure, the fabric itself being consumed in the firing. This
process was, for a long time, a specialty of Minton and Worcester, but latterly it
has been extensively used in a cheap form by other factories. The Royal Worcester
Co. also produce some excellent specimens of Parian Statuary, and amongst the
cheaper productions, Robinson & Leadbeater make the best. Large quantities of
white Parian are sent to France and Germany, and there coarsely colored, destroy-
ing whatever beauty they originally had.

Davenport.

JOHN DAVENPORT'S first connection with the pottery business was as part-
ner with Mr. Woolf, who had a manufactory adjoining that of Mintons', at
Stoke. During a business trip to France, he seems to have made himself
acquainted with all the details of the manufacture of china, and after the
dissolution of the partnership, in 1794, he acquired the works at Longport of John
Brindley, brother of the celebrated engineer, James Brindley. Benefitting by the
knowledge he had acquired in France, and recognizing that the china made in Eng-
land was of but poor quality — for that produced by Wedgwood by no means equalled
his other productions — he applied himself assiduously to its manufacture, and soon
produced china of remarkable transparency, which some amateurs do not hesitate to
place in the first rank, so far as its texture is concerned. For eighty years it was
made from the same formula.

In 1801 Mr. Davenport added glass making to his business, and this, like
all he attempted, was of the very finest quality, and had a deservedly high reputa-
tion. Four years later he added the staining and painting of glass windows for
churches, etc., with Fuseli, afterwards President of the Royal Academy, at the head
of a large number of painters. The Royal Crown was added to the trademark in
1806, after executing an important commission for George IV.

Mr. Davenport represented the borough of Stoke-upon-Trent in Parliament
for a number of years. He died in 1834, his two sons, Henry and William, continu-
ing the business. The former was killed in the hunting field, and the latter died in
1869, and was succeeded by his son. But he had inherited neither his grandfather's
business acumen, nor skill as a potter. The works gradually decayed and were
finally brought to the hammer, (Plate 4, figs. 7 and 8.) The moulds and patterns
were dispersed and it is interesting to note that Messrs. Doulton have just
revived a Davenport pattern in dark blue from their original moulds and engravings.

ROUGH NOTES ON POTTERY.

Cauldon ( Brown- Westhead Moore & Co).

THE Cauldon Place factory was started in 1794 by Job Ridgway, the father
of John and William Ridgway, and carried on by him and them until his
death in 1814. In 1794 blue printed ware was made in addition to a spe-
cies of stone ware of good quality. Soon after 1815, John Kldgway intro-
duced a bone china, with a rich glaze, well adapted for the use of the richest colors.
In 1822 he made a voyage to America — the passage occupied thirty-three days —
and as a result a good trade with this country resulted. (Plate 3, Figs. 1, 2 and 3).
About this time the brothers dissolved partnership and William opened another fac-
tory, and was later the principal partner in several others. Parian and sanitary
ware were added to the products of the Cauldon works, and under John Ridgway's
energetic management, royal and more substantial honors were showered on the
firm. He continued with various partners to conduct the works until 1859 and
died one year later.

He was held in the highest estimation as a man of unswerving integrity, and
his memory is perpetuated in the Ridgway Memorial Church. After his death the
business was bought by W. Bates, T. C. Brown-Westhead and W. Moore, but Mr.
Bates retired in a very short time. Mr. Moore died in 1836 and the manufacturing
part developed on his brother James, who was admitted a partner in 1875. He died
in 1881 and his nephew, Mr. F. T. Moore, took charge of the potting department.
Mr. Brown-Westhead died in 1882 and Mr. W. B. Moore and his brother continued
the works. Their exhibits at Philadelphia in 1876, at Paris in 1889 and at Chicago
were of the greatest beauty and stamped them as formidable competitors with
more well known firms. Respected for their progressiveness, their productions
equal to the best, they have, in a few years, made a demand for their artistic wares
that taxes the capabilities of the factory to the utmost. There is every indication that
" Cauldon " will be the ware of the future. Certainly, if the future sees the same
amount of progress that has characterized the past, there is a brilliant one in store for
them. Their manufactures range from sanitary ware to the finest china, and visitors
to the Chicago Exhibition will not readily forget the exquisite display they made there.
(Plate 3, Fig. 4, and Plate 2, Fig. 29.)

AMEEICAN HISTORICAL EARTHENWARE.

American Historical Earthenware.

DURING the early part of this century
and for a period of twenty or thirty
years, large quantities of earthenware
were imported here from England, of a
patriotic and national character which,
although now eagerly sought after by
collectors, seem to have been over-
looked by English writers on ceramics.
Mr. Prime briefly notices them. This
ware was generally decorated in blue
underglaze with American views and
patriotic designs of American heroes.
In many cases the engraving is most
Millenium Plate. excellent and the color deep and rich.

Lafayette, Jefferson, Washington and De Witt Clinton figure frequently. The
opening of the Erie Canal has six different views. There are upwards of thirty
of Boston, twenty of New York and twenty-five of Philadelphia and vicinity. A
very popular design, made by Clews, had the names of the different States in a
scroll border. (Plate 1, Fig. 18.) The best of these were made by Wood, Steven
son, Clews, Stubbs and Ridgway, and it is instructive to compare the great simi-
larity of their production with
the variety made by their sue- ^
cessors.

Enoch Wood commenced bus-
iness at Burslem, about 1750,
as a manufacturer of salt glaze
stone ware, and towards the
close of the century he ad-
mitted his son Enoch — known
as

ies "

the firm name was E. Wood
& Son. Under the son's man-
agement earthenware of a much
improved quality was made
and a large business, princi-
pally with this country, was
built up. The ware was marked " E. Wood" or "Enoch Wood," and later
11 Enoch Wood & Sons." Mr. J. Bourne Pinder furnishes me with the following
data respecting the succession: " One of the sons also dealt in borax and amassed a
considerable fortune. He eventually withdrew from the firm, and as there was but
little capital left, the Woods eventually went out of business. A manager of theirs
then ran the potteries for a time, but it was soon closed and remained so until my
father formed the firm of Pinder, Bourne & Hope, and then re-opened them, our

"the father of the potter-
into partnership and

ROUGH NOTES ON POTTERY.

Pilgrim Plate.

family living at Fountain Place House, a large, and in those days beautiful one,
adjoining the pottery and where the Woods formerly lived. There were some good

pieces of modeling in the house, one
notably large piece in one of the halls
representing the Crucifixion, executed
by one of the Wood family. I remember
we used to dig up lots of pieces of crock-
ery of good shape and design that had
evidently been made as experiments and
not being perfect, had been buried in the
garden . The firm of Pinder, Bourne & Co.
(plate 3, fig. 29) lasted ten years and was
dissolved by mutual consentin 1861. They
had two factories, Fountain Place and
Nile Street. My father and Mr. Bourne
formed the partnership of Pinder, Bourne
& Co. and went to Nile Street, confining
themselves to trade with the Colonies and South America. Mr. Hope took in a Mr.
Carter and styled themselves Hope and Carter and continued at the Fountain Place
works, catering to the home trade. Pinder, Bourne & Co. failed in 1877, my father
having died in 1867, Mr. Bourne leaving the firm at his death. Doultons were old
friends of ours, and my brother, Thomas Shadford Pinder, influenced them to go
into business with him to make fine goods, which they did in 1877. The partnership
only lasted until 1881, my brother retiring and the firm name was changed to
Doulton & Co. Mr. Bailey has been their manager ever since and to his credit, be
it said, has brought this branch of the business to its present high standard.

The Richard Jordan
plate is often met with, but
I do not know by whom it
was made. He was a Quak-
er preacher, and was born
in Virginia in 1756. At
the beginning of the pres-
ent century he lived at
Hartford, Conn., and in
1809 settled at Newton,
Gloucester County, N. J.,
where, in 1811 he built a
house on a small farm ad-
joining the Meeting House,
in which he resided until
his death in 1826. The
plate was probably not is-
sued until about ten years
later.

The Swan Bank Works,
Tunstall, belonged early in

Richard Jordan Plate.

AMERICAN HISTORICAL EARTHENWARE.

this century to Ralph Hall, who issued a good many American and other
views. He was succeeded by Podmore Walker and Co., who carried on the works
until 1862, when it passed into the hands of Beech and Hancock and from them to
James Beech. (Plate 3, figs. 24 and 25.) Podmore Walker & Co. also carried on
the Unicorn Pottery, and were succeeded by Wedgwood & Co.

The Dale Hall Works were founded in 1790 by Joseph Stubbs, who died in
1836, having a few years previously retired from business. He was succeeded by
Mayer Bros., under whose management the works made rapid strides. Various
changes in the firm name took place and perhaps the greatest variety of goods ever
produced from one works emanated from here. The latest phase of the firm was
Gildea and Walter. (Plate 3, fig. 11).

The Cobridge Works were erected in 1808, by Bucknall and Stevenson, who
were succeeded by A. Stevenson. (Plate 4? fig. 11.) In 1816 or 1820 they passed
"->^rt-> „ ^ne nands of James Clews, and

son remained here, the present eminent financier, Henry Clews. Mr. James Carr,
the veteran New York potter, worked for Clews when a boy, and afterwards em-
ployed many of the potters from the Troy factory. The Cobridge Works remained
closed until 1836, when they were reopened by Robinson, Wood and Brownfield.
Robinson died the same year and in 1850 Wood retired, leaving W. Brownfield
to conduct the business. He died in 1873, two years previously having admitted his
son W. E. Brownfield as a partner, and the firm name became W. Brownfield &
Sons. (Plate 2, fig. 18.) This continued until a year or two ago when Mr. Brown-
field determined in the interests of his workmen to convert it into a co-operative
works and it is now known as the Brownfield Guild Pottery. (Plate 8, fig. 10).

The illustration given herewith is of a vase made by Messrs. Brownfield &
Sons for the Paris Exhibition and at that time wTas the largest china vase ever made.
It is eleven feet in height and six feet four inches diameter. At the summit
is a bisque figure of Ceres surrounded by attendants. The earth above which
she stands is encircled by a zone resting on four brackets on which are seated
four female figures also in bisque, typical of the four seasons. In the four panels
of the zone are groups of children typical of the occupations of the seasons, whilst
the pedestal from which spring the ornamental supports of the globe, is encircled
Vy sixty figures modeled in relief.

After bringing so large a piece to a successful issue, it was greatly disappoint-

he continued until 1829. For what
reason he gave up the works I am un-
able to say, but in 1837 he came to
this country and with the assistance of
American capitalists, incorporated a
company under the title of The Indi-
ana Pottery Company, and built a fac-
tory at Troy, Indiana. But even with
the assistance of English potters, who
were brought over in large numbers,
the venture did not prove successful
and the factory was quickly closed and
Mr. Clews returned to England. One

Landing of Lafayette.

ROUGH NOTES ON POTTERY.

ing that it should receive a severe fracture on its way to the Exhibition; nor did

disaster end here, for it
was entirely destroyed
by a fire at the manu-
factory some year or
so later.

Of J. & W. Ridgway
I have already spoken
in the article on Caul-
don. It was from the
Cauldon factory that
the " Beauties of Amer-
ica ' ' series was issued
and all others marked
" J. & W. R.," "I. R.,»
or " J. R."

William Ridgway
rented from Joseph
Mayer in 1831 the
Church Works at Han-
ley, and he was also as-
sociated with several
other factories, the Bell
Works, now carried on
by Clementson Bros.,
and another one close to
it, now occupied by G. L.
Ashworth & Bros., and
also the Charles Street
works. He admitted his
son, E. J. Ridgway, into
partnership and the bus-
iness was carried on by
them until William
Ridgway 's death in
1864. E. J. Ridgway
formed a partnership
with L. J. Abington,
which was dissolved
in 1865 or 1866. Mr.
Sparks, their London
representative, and E.
J. Ridgway 's Sons, John
and E. A. Ridgway, en-
tered the firm in 1872,

when Mr
Ridgway.

E. J. Ridgway retired, the style being changed to Ridgway, Sparks &
The trademark which had hitherto been the Royal Arms, was now

AMERICAN HISTORICAL EARTHENWARE.

changed to a Staffordshire knot with the letters R. S. R. in the loops. Mr. Sparks
died in 1878 and the style was changed to " Ridgways ; " a new trademark, a bow
and quiver of arrows being used. Mr. E. J. Ridgway died in May of the present
year, aged 82.

Probably from the Church St. Works, William Ridgway issued a pattern called
" Catskill Moss," the centre having American views. This pattern seems to have
escaped the notice of collectors. Has any reader any knowledge of it ?

Mrs. Earle in " China Collecting in America," and Miss Prime in " The China
Hunter's Club," have dealt at length with this interesting historical pottery, but
the subject is by no means exhausted.

Of a later period, but possessing much interest, was a dinner set manufactured
by E. F. Bodley & Co., (Plate 3, fig 12), to the order of the Confederate govern-
ment, for the warship " Alabama." It had a plain blue band with a device in the
centre of two crossed cannons behind an anchor and the letters C. S. N., surrounded
by a wreath of tobacco and cotton plant leaves. Underneath was the motto of the
ship, 11 Aide toi et Dieu Vaidera."

Martha Washington China.

Through the courtesy of Mr. A.
True, of East 28 th Street, New York,
I am able to give an illustration from
an authentic plate now in his pos-
session, of the Martha Washington
set, presented to her by officers of
the French Navy. It is interesting
from an historical point only, neither
the body of the ware nor the dec-
oration being especially fine.

"Bas relief from Wedgwood Memorial Modeled bv Walter J Morris and produced in Terra Cotta

by Blashfield of Stamford."

ROUGH NOTES ON POTTERY.

For the American flarket.

AFTER the exhibition at Philadelphia there immediately grew up a demand
for decorated earthenware, in place of the plain and often clumsy White
Granite with which we had before contented ourselves. This demand was
at first supplied by the English manufacturers of decorated goods, but the
shapes were not conformable to American ideas and the decorations did not appeal
strongly to public taste. It was not long before the White Granite manufacturers
saw their opportunity and commenced sending out some lighter designs, more in
accordance with the demand here, and they have since held a tight rein on the
market. The reputation attained for White Granite and semi porcelain by such houses
as J. & G. Meakin, Alfred Meakin, T. & R. Boote, John Edwards, Furnival & Sons,
Wedgwood & Co., Jas. Edwards, Maddocks, Alcocks and Burgess and Goddard stood
them in good stead and a business colossal in its proportions, the waxing or wan-
ing of which means much to the Staffordshire potteries, has been built up. Johnson
Bros, and W. H. Grindley & Co., (Plate 2, Fig. 26), were late in the field, but by
the elegance of their shapes and the attractiveness of their designs were soon
abreast of the others. Such an extensive market was bound to attract others, and
very many Staffordshire firms to-day who, half-a-dozen years ago, had never sent a
single crate of goods here, have built up quite an extensive connection. The mar-
ket also attracted a class of manufacturers whose products we could have dispensed
with, makers of the cheapest possible grade of goods with nothing at all to recom-
mend them except the price.

''Your honors have seen such dishes."

— Shakespere, " Measure for Measure.'"
Competition here had, of course, something to do with it — and by that I do not
mean to refer to competition between American and English manufacturers — but
rather the competition of importers, jobbers and storekeepers.

T. & B. Boote. In the latter part of the last century the Waterloo Works were
founded by Walter Daniel, who was succeeded by Timothy and John Locket. In 1809
the business was purchased by Joseph Machin and Jacob Baggaley. They made
both china and earthenware. Machin died in 1831 and his son William succeeded
him. The next phase of the firm was Richard Daniel and Thomas Edwards, from
whom the business was purchased in 1850 by the present proprietors, Messrs. T. &
R. Boote. Parian and other specialties had been produced, but these were event-
ually abandoned and white ware only was made. Their familiar mark is known
throughout the United States, and their success is the best evidence of the quality
of their goods. Of late years Messrs. Boote have produced a large number of
decorated patterns, some more successful than others, but all showing the exercise
of artistic thoughtfulness in their applicability as decorative designs (plate 3,
fig. 13).

The Old Hall Earthenware Co. (plate 3, fig. 19), was established by Job Meigh,
in 1770. They make a fair quality of earthenware and have also quite a large
trade in vases and ornamental goods.

George Jones & Sons, Stoke-upon-Trent, was established by George Jones in
1861. He had formerly been with Mintons. Messrs. J. & G. Meakin having more

FOR THE AMERICAN MARKET.

orders than they could execute, commissioned him to make White Granite for them
and this he did at the Old Bridge Works, now occupied by Messrs. B. & S. Han-
cock. Some years later he built a large factory and with the valuable assistance he
received from his sons, quickly pushed himself to the front rank as a manufacturer
cf china, majolica and earthenware. Their goods are deservedly popular and bear
evidence of great care, both in design and workmanship. Mr. Jones died Decem-
ber 10, 1893, and the business is carried on by his sons (plate 2, fig. 14).

Johnson Bros. The Charles Street Works, Hanley, were founded by William
Mellor, in 1758. He made Egyptian black ware, as did his successors, Toft and
Wheeling. The works next passed into the hands of Toft and May, and a little
later May alone conducted the business. He was succeded by William Kidgway,
who changed the manufacture to that of white ware for the American market. The
venture was unsuccessful and J.W. Pankhurst & Co. succeeded him, from whom the
works passed, some fifteen years ago, to their present proprietors, Messrs. Johnson
Bros. Thanks to their enterprise they soon took front rank amongst those manu-
facturers who catered especially for this market, a position they seem likely to
maintain. (Plate 2, figs. 48 and 49.)

J. & G. Meakin. Mr. James Meakin commenced business in Longton, in 1845,
but removed to Hanley in 1848. He retired in 1852 and was succeeded by his two
sons, James and George. The business, principally with this country, grew to such
large proportions, that in 1859 they built the Eagle Works, midway between Han-
ley and Fenton, one of the largest, if not the largest, White Granite works in the
potteries.

Furnivals, Ltd., Cobridge. Their specialties are punchbowls and toiletware,
both of which they excel in, the latter from the originality of the designs and care-
ful engraving and finishing, hold a leading position in the market. (Plate 3, fig. 17).

There are numerous other manufacturers in the potteries of equal importance
to any of the above, and they are not particularized simply because I have no copy
of their trade mark or other data of interest respecting them.

At Burton-on-Trent, Wm. Ault and Tooth & Co. manufacture jardinieres and
similar goods with richly colored glazes, very soft and harmonious.

The Burmantofts Pottery Co., Leeds, are unequalled for their colored glazes and
produce a very large variety of artistic shapes, finely modeled and carefully made.
It came as a revelation to the Staffordshire potters when first brought out.

The Delia Robbia Pottery, at Birkenhead, has recently been established to
"re-direct art energy towards industrial forms of daily need and use," and as such
men as Holman Hunt are identifying themselves in its development, it will be
interesting to watch its progress.

ROUGH NOTES ON POTTERY.

John Maddock & Sons, L'td.

IN recognition of the high standard of excel-
lence this firm has always maintained, and
the just repute that has followed, as night
follows day, they seem to me to deserve
more than a passing notice. More particu-
larly so since they occupy a somewhat unique
position in the world of ceramics, having
raised the manufacture of table earthen-
ware a point higher than other Staffordshire
houses engaged in the American trade. In
manufacturing earthenware, the harder the
body is made, the less is the liability of the
ware to craze, always supposing that there
is perfect affinity between the glaze and the
body. To obtain a body of this degree of hardness, Messrs. Maddock have to
employ a greater preponderance of its more expensive component parts, which
enables it to stand such a degree of heat that a partial vitrification ensues, and the
body and glaze being in perfect agreement, a ware is produced of such a homoge-
neous nature, that the risk of crazing is entirely removed. (Plate 2, figs. 24 and 25).

The original founder of the works at Burslem was John Maddock, who com-
menced business in 1830, and from the first his efforts were crowned with success.
At an early date his attention was directed to this country as a market for his goods,
and his son John Maddock, Jr., spent a number of years here, opening up business
connections, the results of which were reaped by his brothers, Thomas and Henry,
who succeeded him. Another son, James Maddock, is the present head of the house,
and is the only surviving son living in England. On his return there, after a visit
to this country, in 1876, he considerably enlarged the works, which now give employ-
ment to over six hundred employees. Notwithstanding his multifarious duties at
the factory, he has always taken a keen interest in municipal matters. He was
elected to the highest honor his towns-people could confer upon him, that of Mayor
of the ancient borough of Burslem, and the town has been many times the recipient
of his liberality. Progressive and public-spirited, he has earned alike the respect of
his neighbors and the affection of his work-people, and when the depression of the
pottery industry in 1887-8 occurred, he kept his works in full operation. This affec-
tion found voice in an address presented to him by them with an accompanying
substantial mark of their gratitude. These evidences of good feeling between
employer and employed are always pleasurable matters to chronicle and perpetuate,
and the following extract from the address needs no apology :

"We are proud of the high position the manufactures of the firm have attained
and still maintain on the market, and we highly appreciate the honorable, fair and
kindly treatment your employees have always received at your hands, your uni-
form and thoughtful consideration for them in times of sickness, the efforts you have
put forth — sometimes to your own disadvantage — to provide work for them when
trade has been depressed, and your endeavors as Chairman of the Board of Arbitra-
tion to secure and promote cordial relationship between capital and labor. As a
testimonial of the honesty of these expressions of respect and esteem, we request
your acceptance of the accompanying tray and two silver centre stands, and ask

JOHN MADDOCK & SONS, L'TD.

your permission to join with them our most cordial and heartfelt good wishes for
the future well-being and happiness of yourself and your family."

Upon the death of John Maddock, Jr., his son, John Francis, was admitted as
junior partner by his uncle, and much of the present management of the firm devolves
upon him.

The reputation of their goods has been considerably enhanced by the character
of the decorations employed, decorations very tasteful and effective, and often dis-
playing a high order of art.

JAMES MADDOCK.

ROUGH NOTES ON POTTERY.

Chelsea.

THE origin of the manufacture of pottery at Chelsea is doubtful, but was
probably founded by Dutch workmen about the middle of the seventeenth cen-
tury. It had attained some celebrity as early as 1745. George I. brought work-
men, models and materials from Saxony, and enabled it to compete with Sevres
and Dresden. In 1750, Sprimont was the director, and continued to be so until
1768, when the sharp competition of the Derby factory, which had acquired consid-
erable celebrity, together with failing
health, caused him to relinquish it and
the whole works, moulds, patterns — every-
thing was sold out at public auction to
William Duesbury, proprietor of the Derby
factory. A great variety of china was
manufactured at Chelsea, snuff boxes,
smelling bottles, mounted in gold, statu-
ettes and exquisite flowered pieces, handles
for knives and similar articles, in addition
to the more important dinner and tea ware.
One peculiarity of Chelsea china, was, that
it would not stand a second fire, and the
body was not so compact as that of Derby.
The colors are all remarkably fine and vivid,
the flower work delicately modeled, and
only the best artists were employed. The
product of the works, as was usual in
those days, was disposed of at public auc-
tion. In 1763, Horace Walpole wrote of a
magnificent set which cost £1,200. (about
$6,000). As the purchasing power of
money was much greater then than now,
it must have been of very fine workman-
ship to command such a price. The dis-
tinguishing mark of Chelsea china was
usually an anchor, though some is marked "Chelsea 1745," which is interesting
as being the earliest dated example of English china. Other Chelsea marks
will be found on plate 1. Jewett in his "Ceramic Art," gives in entenso a copy
of a curious document addressed by the Chelsea works to the Custom House offi-
cials, and fixes the date about 1752. It recites that although painted Earthenware,
other than that from India, is not enterable at the Custom House, other than for
private use, the importations continue, shops abound with new stock, public sales
are advertised at the very beginning of winter and in large quantities, and from the
diminution in the price of Dresden china, it is believed that this is done to crush the
manufactory established here, which was a proj ect threatened last year. This earthen-

CHELSEA.

ware pays 8d by the pound when entered for private use, but a figure of very little
weight may be worth £5, so that the real value of what is sold here will be found to be
considerable. It may be said that a certain foreign minister's house has been, for a
course of years, a warehouse for this commerce, and a large parcel advertised for public
sale is come, or is to come from thence. A few examples of seizures would put a
stop to this, as all Dresden china has a mark to distinguish it by ; but if this com-
merce is permitted to go on, the match between a crowned head and private people
must be very unequal, and the foreign manufacturer will at any time by the sacri-
fice of a few thousand pounds have it in their power to ruin any undertaking of
this kind here.

It is not recorded whether any answer was made to the ingenious petition, but
it will afford food for reflection to the Political Economist that final disaster came,
not from foreign, but home competition.

Bow.

THERE does not appear to be any positive information as to when the china
works of Stratford le Bow were founded, though we know that in 1750
they passed into the hands of Messrs. Weatherby and Crowther, and Mr.
Binns has in his possession an inkstand with the inscription " Made at New Canton,
1750." This was the name the works were'known
by, and T. Craft, an artist employed there, writing
in 1790, respecting a punch bowl painted by himself
in 1760, says: "The above (Bow) manufactory
was carried on many years under the firm of Messrs.
Crowther & Weatherby, whose names were known
almost over the world ; they employed 300 persons ;
about 90 painters (of whom I was one) and about
200 turners, throwers, &c. , were employed under
one roof. The model of the building was taken
from that at Canton in China ; the whole was heated
by two stoves on the outside of the building, and
conveyed through flues or pipes and warmed the
whole, sometimes to an intense heat, unbearable
in winter. It now wears a miserable aspect,
being a manufactory for turpentine." It is, or was
a few years ago, the match manufactory of Messrs.
Bell and Black. The Bow works were in existence
until 1775, when they were purchased by Duesbury
of Derby.

The Bow China was a hard and rather coarse Bristol Figure,

body, often marked with an embossed bee. It was the first china body in which
bones formed a component part. The article on Spode gives further details on this
interesting point. The Mayflower in relief was a favorite decoration, and they also
produced some charming statuettes in bisque. John Bacon, the sculptor, and
Moser, the keeper of the Royal Academy, a skilfull modeler, worked for the Bow
factory. There is a good deal of confusion regarding Bow marks, but those given
on plate lare generally assumed to be Bow

ROUGH NOTES ON POTTERY.

Derby.

IN the year 1756 John Heath and William Duesbury entered into partnership
with Andrew Planche, to manufacture china, on equal shares. Planche had
formerly made small articles in china, cats, dogs, sheep, etc. , which he fired in
a pipe-maker's oven. Duesbury was an enameler from Longton, Staffordshire,
and Mr. Heath found the capital. The undertaking seems to have been a success
from the first. In 1763 the higher sorts of porcelain, such as figures and vases, were
made, and ten years later, such had been the growth of the business that premises
were opened in London, and a list issued showing 123 additions made to their
products that year. About the year 1781 the manufacture of bisque figures was
commenced, and in this branch of the art they have never been excelled — possibly
never equaled, and to the Derby factory is due the credit of their inception.

Planche seems to have dropped entirely out of sight, probably after im-
parting his knowledge and technical secrets, when he was no longer of use.
William Duesbury died in 1786, and was succeeded by his son William. As narrated
elsewhere, the Chelsea and Bow works had been merged into the Derby factory
some eighteen years previously. In 1795 Michael Kean, a very clever miniature
painter, was admitted into partnership, so as to relieve Duesbury of some of the
responsibilities, but the experiment was not altogether a success, and Duesbury
died shortly afterwards. Kean then married Mrs. Duesbury, but soon afterwards
withdrew and the works were continued by the third William Duesbury. In 1815
he leased the premises to Eobert Bloor. The Duesburys had always made it a point
not to sell any but perfect pieces, so there was naturally a great accumulation of
ware more or less defective. Bloor having to pay the purchase-money by install-
ments, found the easiest method of doing so was to finish up these goods, take them
to different towns, where they found ready sale, and also to have sales at the fac-
tory. One of these sales lasted twenty-five days. He amassed large sums of money
by this means, but it produced a lasting evil. The temptation to produce large
quantities of goods for auction was too great to be resisted, so less care was taken
in the selection and manufacture of the goods, and the decline of the works com-
menced. (See Plate 1).

Bloor was succeeded in 1846 by Thomas Clark, who discontinued the works
and sold most of the moulds, etc., to Staffordshire manufacturers. Some of the old
employees commenced business on their own account, throwing into the common
stock what tools, money or experience they had. The title of the firm was " Locker
& Co.," and in 1859, on Locker's death, changed to Stevenson & Co., subsequently
becoming Hancock & Co.

In 1877, Edward Phillips gave up his appointment as one of the managing
directors of the Worcester Porcelain Co., and, in conjunction with Mr. William
Litherland, a well-known china dealer of Liverpool, and Mr. John Mclnnes, formed
a limited liability company with a capital of £68,000 for the manufacture of china
at Derby, under the style of u The Crown Derby Porcelain Co." The first works
Were on the Osmaston road, but the old poor-house coming into the market it was

DERBY.

purchased for £10,000 and converted into a manufactory. It was not, however,
until 1880 that it was in full working order, and a revival of the old Derby shapes
and patterns was successfully attempted. Mr. Phillips died in 1881, and Mr. Lith-
erland a year later, and the management devolved on Henry Litherland and
Edward Mclnnes. In 1891, aided by the late Duke of Devonshire, they obtained
the privilege of adding " Royal " to the style of the firm. R. G. Morris, Ingram and
Hogg, are the modelers ; Jas. Rouse, who worked for Duesbury, continues his
excellent flower pieces ; Holtzendorff is a painter of dreamy landscapes, whilst the
figure-painters are Platts and Deakin. (Plate 3, fig. 6).

Caughley=Coalport.

THE first Caughley factory was probably
started by Gallimore, about the time of the
inception of the Worcester works, though lit-
tle is known about him. He was succeeded in
1772 by Thomas Turner, who appears to have
supplied the plain china for decorating to both
Robert Chamberlain and Grainger of Worces-
ter. Jewett thinks that the printing for the
Worcester Company was done here, on account
of its isolated position, and it being possible to
observe greater secrecy than at Worcester, the
river Severn forming furthermore a convenient
highway for its transportation.

Apprenticed to Turner was a youth named John
Rose, the son of a neighboring farmer, who afterwards
started in business on his own account at Jackfield, a
little further up the river, but soon removed to Coal-
port, on the bank of the Severn opposite to Caughley.
This had previously been a small pottery belonging to
a Mr. Young. The venture was a success, so much so
that in 1798 the opposition proved too strong for the
Caughley works, and they were disposed of to Mr. Rose
and his partner. Mr. Rose also acquired the Swansea
Works (1820) and afterwards the Nantgarw, which had
been founded by Derby workmen, " and which produced,
perhaps, the finest examples of porcelain with a granu-
lated fracture ever made." The moulds, patterns, etc.,
of these two works were, with the workmen, gradually
removed to Coalport. Both in body and decoration
excellent results were attained, its merits were speedily
recognized and the standard of excellence has been
maintained until the present day.

ROUGH NOTES ON POTTERY.

In 1820 the gold medal offered for the best porcelain glaze without lead, was
awarded to Mr. Rose, having for competitors Copelands, Davenports and other well
known Staffordshire houses.

John Rose died in 1841 and was succeeded by his nephew, who was in turn
succeeded by Mr. Pugh . Following his death a good deal
of litigation ensued, and the business was conducted in a
haphazard fashion. There was no actual supervision ;
the workmen simply made those articles for which
they were best paid, and a vast accumulation of use-
less stock was the result. A gentleman named Bruff then
bought the works. They were rescued from the annihil-
ation that threatened them and to-day, under the di-
rectorship of Mr. J. J. Bolt their productions increase in
beauty and are more sought for than ever. Some of the
old artists who helped to make Coalporfc what it is were
Hartshorn, landscape painter; Gook, flower painter,
and Randall, birds, etc. To this factory we owe the
production of the world-famed Willow pattern, or, as it
was called, u Broseley," the Blue Dragon or Canton
pattern, and the almost as well-know Worm Sprig,
Tournay Sprig and Berlin Chain, copies of Dresden pat-
terns. Early specimens are marked as shown (plate 4,
fig. 10), though marked pieces are the exception, whilst
the present mark is a crown with " Coalport, A. D.,
1750." (Plate 2, fig. 32.)

During the many changes in the proprietary, the
style of the firm name has never changed. It has
always been and is now " John Rose & Co."

Vase, by Randall.

WORCESTER.

BOUGH NOTES ON POTTERY.

Worcester.

DR. WALL, a chemist of much practical ability and research, founded the
Worcester Porcelain Co. in 1751, as a result of experiments he had long
been engaged on. The original partnership deed relating to the formation
of the Company is still in existence. The first productions were copies or
adaptations of blue and white Nankin patterns, to which were soon added the more
brilliant Japanese colorings. The much sought for square marks are copies of Jap-
anese originals, the Worcester artists freely adopting them, as a little later they did
the Dresden mark, when that style of decoration, in conjunction with that of Sevres,
was adopted. Early specimens have a somewhat cold and coarse look. In 1756,
the invention of printing on biscuit china was introduced at Worcester. The credit
of this discovery probably belongs to the Sadlers of Liverpool, who certainly printed
tiles there in that year. It is also claimed for R. Handcock or Hancock of the Bat-
tersea Enamel Works, who came to Worcester in that year, and also for J. Holdship,
one of the original partners of the Worcester factory, although the claims of the latter
we find immediately challenged. A j ug with a printed portrait of the King of Prussia
inspired a long poem in the Gentleman' s Magazine for December, 1757, and it was
dedicated to Holdship. This poem, slightly altered, was reprinted in the Worcester
Journal, for January, 1758, with the addition of the following significant couplet:
" Handcock, my friend, don't grieve, though Holdship has the praise.
'Tis yours to execute — 'tis his to wear the bays."
Richard Holdship in 1751 became the lessee of the works, but becoming bank-
rupt in 1761, sold his shares for Jive shillings ! and carried the secret of printing to
the Derby Works. In 1769 Hancock purchased from the mortgagees of Richard
Holdship the buildings he had erected, and became a partner in the works ; but
this partnership only lasted until 1774.

About this time many of the Chelsea workmen immigrated to Worcester, and
their influence was quickly felt in the style of the goods produced.

The worthy Dr. Wall died in 1776, and how much had been due to his skill as
a potter, his acumen as a business man, was evidenced by the rapid deterioation of
the quality of the products in the years succeeding his death. In 1783, John and
Joseph Flight purchased the business and the prestige of the firm was quickly
restored. They introduced simple decorations. In 1788, George III. visited the
factory and suggested the use of the word " Royal ;' in the firm name, which was at
once carried into effect and a crown added to the trademark. In 1793 Mr. Barr
joined the firm and the various changes in style dated below followed.
Flight & Barr, 1793 to 1807.
Barr, Flight & Barr, 1807 to 1813.
Flight, Barr & Barr, 1813 to 1840.

In 1786, Robert Chamberlain, the first apprentice the Worcester Company ever
had, commenced business on his own account, at first buying china from Caughley
to decorate, but soon manufacturing it for himself. He built up a large business
and the two firms amalgamated in 1840, the business being carried on at the works

WORCESTER.

and under the style of Chamberlain & Co. (Plate 1, fig. 1.) In 1850 Mr. Kerr
joined the firm and the year following Mr. Chamberlain retired, his place being
taken by Mr. R. W. Binns and the firm name became Kerr & Binns. Much progress
was made in the next ten years, the works were considerably enlarged and at the
end of that period Mr. Kerr retired and the business was continued by a company
of shareholders, with Mr. R. W. Binns as art decorator, a position he has honora-
bly filled and fills at the present day.

The enamels of Mr. Bott, a
very clever artist, brought up
by Mr. Binns specially for the
work, were veritable triumphs
of pottery.

It is, perhaps, by their ivory
body, first made in 1854, in
which they produce an infinite
variety of shapes and designs,
that they are best known.
Jeweled porcelain, a more
ceramic production than that
of Sevres, parian statuettes,
Worcester Japanese ware, and
finely painted vases are some
of the specialties of the firm.
Both in form and design a very
high ideal has always been
aimed at, and this is especially
noteworthy in tea and table
services, produced mainly by
mechanical processes. (Plate
3, fig. 5).

Tazza by Bott.

G, Grainger & Co.

ANOTHER Worcester firm of prominence was that of G. Grainger & Co. , estab-
lished in 1800 by Mr. Thomas Grainger, a nephew of Mr. Chamberlain.
Their principal productions are a highly vitrified semi-porcelain table ware,
first produced in 1851, and a great variety of perforated glazed parian vases, very
chaste in design and executed with great care. Since 1889 this factory has been
taken over by the Royal Worcester Co., and is now operated by them. (Plate 2,
fig. 31).

ROUGH NOTES ON POTTERY.

Lowestoft.

PERHAPS no china has given rise to more controversies than that of Lowestoft.
A pottery was established there in 1756 by Luson, but owing to the jeal-
ousy of some London manufacturers, who tampered with the workmen
and induced them to spoil ware, it was not a success. However, in the year fol-
lowing, Walker, Brown & Co. , seem to have placed it
on a fair footing and both earthenware and china
were made. Many of the decorations were by
Thomas Rose, who painted roses and small bou-
quets, both in groups and festoons. The works
were abandoned in 1802. The claim was for a long
time advanced that hard porcelain was made at
Lowestoft, but it now seems reasonably certain
that either Chinese ware was imported and decorated
at Lowestoft, or that Lowestoft decorations were
sent to China and copied there for the English market.
The decorations are very simple in character, frequent-
ly with heraldic devices, but there was no distinguish-
ing mark of any kind employed.

I have taken Jewitt as an authority, but the
pros and cons are most entertainingly set forth in the
last chapter of that most interesting of all books on pottery 1 1 The China Hun-
ter's Club."

Doulton.

IN 1818, John Doulton established a stoneware works at Vauxhall. He was
joined by John Watts and traded under the style of "Doulton & Watts.''
Some few years after, the works were removed to Lambeth. From the first, a
high order of merit was arrived at and achieved. There were no affected imita-
tions of an antique type ; character and originality were distinguishing features ;
all that was artistic found encouragement, and it was not long before a rough and
crude manufacture was developed into one of artistic elegance. " What particu-
larly arrests the eye is that each object has a style, which now takes us back to the
flowery periods of Doric and Etruscan forms, now to the days of medieval hospi-
tality. These works are not the results of the common course of earthenware pro-
ductions, it has cost much thought and the exercise of much knowledge and ingen-
uity to appoint a confederacy of labor, so particularly qualified as shall work suc-
cessfully to this special end."

The Doulton Lambeth ware is an earthenware body, highly vitrified, similar to
the Gres from Germany. The ornament is principally sgraffimento or incised out-

DOULTON.

line, made with a blunt tool on the wet clay, and afterwards colored with a brush
and fired. The Lambeth works also have produced some of the rarest examples in
Terra Cotta moulding ever seen, the work of George Tinworth being the most
noticeable. Bricks, sewer pipes, &c. , are also made by the Doulton firm.

Early Lambeth Doulton.

Henry Doulton entered the firm at an early age, and under his skilful manage-
ment fresh laurels were gained, the standard of the productions was higher and success
seemed only an incentive to greater efforts. In 1877 the firm bought the works of
Pinder, Bourne & Co., at Burslem, at which one hundred and sixty people were
employed. At the end of last year over one thousand were employed. Totally
different to the goods they had been in the habit of making, they entered on
this new venture with all their characteristic artistic enterprise. Formidable
rivals were in control of the trade, but nothing daunted, they set to work,
and in an incredibly short space of time there was on the market such a
rich profusion of goods, both in china and earthenware, invested with so much
artistic excellence and of so marked a character as to place the firm at once in the
front ranks of Staffordshire manufacturers. Every piece of ware produced, from
the cheapest dinner plate to the most expensive vase, bears this impress, a some-
thing indefinable yet plainly existent and for which I can find no better word than
" Doultonesque."

Sir Henry Doulton — he was knighted in 1887 — in a speech to his work people,
said: "I remember when the power we employed in Lambeth, fifty or sixty
years ago, was one blind horse. It is now 3,500 horse power and we have twenty-
five steam boilers capable of generating steam equal to 7,000 horse power. In
place of the music we have enjoyed to-night, I remember when the potters' recrea-
tion were drink and degrading fights between women; and when old Lambeth
alleys, such as 11 Black-boy"-alley and " Naked-boy"-alley were sinks of infamy
and disease. By the extension of our buildings many of these old plague spots
have been removed. I began my work when 15 years old, at which age I went into
the manufacturing department of my father's small business. There was no steam
engine then ; I had to push my wheel with my own foot. Often there was a kiln
blazing just in front of where I worked. After two years I was able to make my
first twenty gallon vessel on the wheel. I wanted to be able to criticise
with intelligence. That was one of my motives when I deliberately chose to
acquire a technical knowledge of pottery. I felt that if I were to be a judge of
work, I at least should have a practical acquaintance with it. For a long time I
confess I was prejudiced against the employment of women. I had witnessed the

ROUGH NOTES ON POTTERY.

degrading effects of work on the women working in the potteries of Staffordshire,
where women generally performed such heavy labor as turning the wheel, and
wedging the clay. I had observed, too, especially on the Continent, that wherever
women did what usually is men's work the men grew to be a lazy lot. Still, the
matter was thoroughly thought out, and I at last saw my way to adopt a well
organized scheme for the employment of young ladies. The success of the experi-
ment was soon recognized, and nothing gave me greater pleasure than to see women
working in those arts which tend to beautify and adorn life. In the year 1870 the
first steps were taken at Lambeth to produce art pottery. I could say a good deal
on this point, but let me now just observe that the only drawback to this depart-
ment of our productions is that it cannot at present be extended." (Plate 3, fig. 14).

Belleek.

BELLEEK is a fine glazed Parian body, washed with metallic lustres. It is
made by what the French call the " coulage" process and which we desig-
nate as casting. A plaster mould is filled with clay diluted by water to the
consistency of cream and known as "slip." The plaster absorbing the water
leaves a layer of clay adhering to the moulds, and when this attains the required
thickness the remainder of the slip is emptied from the mould, and after drying for
a short time the cast can easily be removed. Parian being a non-plastic body, can-
not be either thrown or made in a dry mould. This ware first attained any degree
of popularity at the manufactory of Messrs. McBirney & Armstrong, of Belleek,
County Fermanagh, Ireland, and took its name from that village. It had pre-
viously been successfully produced by Mr. W. H. Goss, of Stoke- upon-Trent. (Plate
2, fig. 10.) It was in 1863 that the first attempts to produce it were made at Bel-
leek, but they were unsuccessful until McBirney & Armstrong engaged Mr. Goss's
foreman, William Bromley; a clever modeler named Gallimore and some ten other
workmen from the same factory. Gallimore subsequently returned to Mr. Goss, as
did most of the others, after teaching the process to their Irish friends, whilst Mr.
Bromley in 1883 came to Trenton to assist Mr. J. Hart Brewer in his development
of Belleek. I have several times within recent dates seen it stated that Mr. W. H.
Goss of Stoke-upon-Trent was the originator and inventor of the Belleek ware, and
generally with the assumption that the iridescent coloring was in the glaze. Both
these statements are incorrect. The real inventor of these pearly lustres was a
Frenchman named Henri Brianchou, who protected by patent his discovery in
France, England and Germany, and, I think, in one or two other countries. These
lustres were used both in France and Germany long before their adoption by Mr.
Goss, who, in common with Belleek and other factories, imported them from France
during the continuance of the patent. These lustres are solutions of metal washed
over the glaze and subsequently fired, and are no more a part of the glaze than is a
line of gold or other enamel-kiln decoration. Mr. Goss started in business at Stoke
in 1858 ; and in the London exhibition of 1862 does not appear to have exhibited
any u Belleek " although he had a very choice exhibit of Parian figures, vases, &c;
so that at the earliest, it seems reasonable to suppose he did not use these lustres

BELLEEK.

before 1863, the year of the inception of the Irish manufactory. When Mr. Brom-
ley went to Belleek he took with him the knowledge of a Parian body, whose com-
position Mr. Goss had adopted from an older body. Mr. Goss has a small manufac-
tory at Stoke, where he produces some excellent specimens of Parian, and finds
time to indulge his literary talents. I have used the word "small" advisably, as I
have seen it described as "immense," which it is not and which Mr. Goss, in his
own words takes " care that it shall not be ; for such a delicate maufacture would not
admit of extension like an ordinary pottery. It would be dangerous to carry it
beyond personal supervision." Beside improving the Belleek body, making it look
richer and capable of standing boiling water, Mr. Goss has introduced a great
improvement in the manner of fixing enamel jewels on china. He is a relative and
also the biographer of Mr. Llewellyn Jewett. Many very elegant shapes and
designs specially suited to the decorations emenated from the Belleek factory and
had for a long time a certain popularity, but of late it has been made extensively
at Trenton, equaling, if not excelling, the Belleek productions. (Plate 3, fig. 30 & 31.)

Rookwood.

ROUGH NOTES ON POTTERY.

Pate=sur-PSte.

SPECIALLY CONTRIBUTED BY

M. SOLON,

AUTHOR OF "THE ART OF THE OLD ENGLISH POTTER."

AMONGST the various styles of decoration which the artist may borrow from
the potter, the process of Pate-sur-Pate stands alone with regard to the
peculiar effects that may be obtained from it. Wedgwood's jasper reliefs
are the nearest approach, but the figures and the ornamentation with which
jasper ware is adorned, are all pressed in moulds, and simply stuck on the surface.
The result is, a work, which however skilful in treatment, does not go beyond the
refined productions of a superior handicraft.

It is not so with the Pate-sur-Pate process. A plain piece, made of a porcelain body,
colored with metallic oxides, and still in the clay state (that is to say, before it has
been submitted to any firing) is taken in hand by the artist. Freely he sketches
upon it a subject of his own imagination. The white porcelain clay, diluted with
water to the consistency of batter, or, as it is called, the " slip," serves to produce
the reliefs. By means of a painting brush the slip is laid upon the piece by succes-
sive coats, care being taken to wait until the coat is perfectly dry before applying
another. Failing that precaution the raised work might crack and peel off. Thus,
by degrees, the reliefs attain their respective thicknesses. They are then worked
into with sharp iron tools, which scrape and smooth the inequalities of the rough
sketch, incise the details and delineate the outlines, whilst the brush loaded with
thicker slip, brightens the whole work with sharply raised touches. When the piece
is considered as completed and ready for the oven, it is, from beginning to end, the
original production of the artist's hand.

But it is only through the action of the fire, which causes the incipient state of
vitrification of the mass, that the translucency of certain parts will become appar-
ent. When at work the artist has no means of ascertaining the degree of transpar-
ency that the firing will develop; he can only depend on his experience and judg-
ment. All ends often in disappointment, for after the piece has passed through the
oven, to retrieve any mistake, or to amend any accident has become an impossi-
bility. One may rest satisfied if the fiuit of a long labor does not come from the
firing split into fragments, disfigured by unseemly blisters, in short, an altogether
worthless wreck.

Decoration in colored clays are applied in the same manner. The various colors
are obtained by mixing with the porcelain body, given quantities of oxide of cobalt,
chromium, iron, uranium, titanium, and other metalloids. These mixtures have to
be artfully compounded in such a way that the contraction they undergo in the
firing shall be equal in all cases.

ROUGH NOTES ON POTTERY.

The Staffordshire Potteries.

AS some misapprehension seems to exist about the district known as " The
Potteries," perhaps a few words on the subject will be acceptable. Situated
in the northern part of the county of Staffordshire, about 150 miles north-
west of London, is the district known as " The Potteries" which embraces
Stoke-upon-Trent, Fenton, Longton, Hanley, Shelton, Cobridge, Etruria, Burslem,
Longport, Dalehall and Tunstall. These towns cover a space about nine miles long
and three wide, and have a combined population of about 200,000. Burslem — the
mother of the Potteries — was originally " Burwardeslime," meaning the bower near
the wood. Even in Wedgwood's time the only houses at Stoke were those of
Ward (the Staffordshire historian) and Poulson, afterwards associated with Minton.
Newcastle was the nearest market place to Burslem, but the roads were so bad as
to be almost impassable, in addition to being infested with highwaymen. A part of
this road or lane is still in existence, much as it was a hundred years ago. Long-
port was formerly Longbridge, owing to the floods of water which gathered in the
valley. The long bridge consisted of about a hundred yards of plank, made by the
assistance of stones, to span the water-course, which at times was deep and rapid.

Stoke-upon-Trent has the best railroad facilities and perhaps for this reason is
regarded as the metropolis of the potteries, a distinction also claimed by Hanley,
on account of its progressiveness.

Tunstall, from the Anglo-Saxon tun, a town and stall, an elevated seat, was held
in the time of Henry III, as fief under the manor of Newcastle, by Henry de
Audley. The ironstone with which Tunstall abounds was worked as early as 1316.
It was not however until 1816 that the town became of any importance.

The Old Hall Manufactory at Hanley, locally " T'wod Awe Bonk " (for in the
Potteries every factory is a 'bank'), carries us back to the Norman Conquest when
William de Hanley was lord of the manor and had his residence there. Etruria was
created by Wedgwood ; Shelton is mostly the over growth of Stoke and Hanley,
whilst Longton, meaning long town, was formerly Lane End, a name requiring no
explanation. Newcastle, about two miles from Stoke, disdains connection with the
Potteries, content with the prestige of being one of the oldest boroughs in England.
Here was born Major-General Harrison, one of the chiefs of the army of the Com-
monwealth ; Fenton the poet, and John Goodwin, a celebrated divine who by his
pen probably did as much for Cromwell's cause as Harrison did with his sword.

Notwithstanding the smoke and grime from the ovens and furnaces, there is a
marked absence of epidemics, the potters' worst foes being asthma and lead poison-
ing, but thanks to strict government supervision, the better ventilation and greater
cleanliness of the workshops, these diseases are markedly on the wane. The
potter is generally a Wesleyan, in atonement, I suppose, for the shower of bricks
and stones hurled at Wesley on his first visit to Burslem. He takes a strong interest
in politics, mostly in the winter, for at other times his beloved patch of garden
occupies all his leisure. Beer is his favorite beverage, but of late years, thanks to
the influence of such institutions as the Wedgwood Institute and the Schools of
Design, of which each town boasts of one, the present generation is more sober and
better educated, whilst losing nothing of the kindheartedness and hospitality for

THE STAFFORDSHIRE POTTERIES.

which they have always been celebrated. Sixty years ago at Burslem there was
but one old constable in the town. He was named Cooper and was often greatly
distressed on Saturday night, his complaint being ' ' What can I do? They're faight-
ing from Enoch Woods to Billy Barlow's. If there's one man stripped to his buff there's
a hundred ; and if I charge the peace it's no use, for they won't take any notice
of me." Every year at the annual holiday, " the Wakes," there was bull baiting in
the public square and on the Green. The bull baiting has long been discontinued,
but the wakes are still an honored institution, though yearly they are less patron-
ized, the potter finding more enjoyment in a trip to the seaside than amongst the
crowd, of itinerant showmen, who for the nonce monopolize the public square.
With all its blackness, no district has a brighter border land than that which sur-
rounds the Potteries. Remnants of vast forests that one time covered the district,
remain at Trentham, the seat of the Duke of Sutherland, and the park and woods
are free to all. Alton Towers, Lord Shrewsbury's estate, is but a few miles distant
and that in turn is close to Dovedale immortalized by Isaac Walton, whilst nearer
home the Moorlands at Leek, or the historic ground beyond Newcastle, open up
wide fields of enjoyment and the potter at his leisure explores them all. An ardent
sportsman, he industriously whips the streams of the Dove or Blyth, and recounts
his adventures at the monthly meeting of the club to which he belongs, between
the puffs from his long Brosely or more convenient briar, for to him the cigar is an
almost unknown quantity.

The Potteries are often confounded with the Black Country, a district engaged
in the iron trade and in the southern part of Staffordshire.

"The Peachblow Vase."

ROUGH NOTES ON POTTERY.

France.

Bernard Palissy.

Bernard Palissy in the galaxy of eminent
potters stands out in bold relief, and the
romance of his life, as told by himself, is
one of the most thrilling autobiographies
ever written. Professor Henry Morley in
his ' 1 Palissy, the Potter," has produced a
work of rare interest and I would strongly
urge those who have not read it to do so.

Bernard Palissy was born at La Chapelle
Biron, province of Perigord, France, in the
year 1510. His father was a glass painter
and he taught his son the same art. At a
very early age, owing to the poverty of his
parents, he was thrown upon his own
resources for even the most rudimentary
education. His indomitable energy was a
marked trait in his character, even as a boy,
and he read and studied every book within
his reach and acquired more than a rudi-
mentary knowledge of chemistry, geology and botany. The training for his art as
a glass painter made him a skilled draughtsman and taught him the manipulation
of colors. Upon completing his apprenticeship he married and settled at Saintes,
varying his occupation by portrait painting and land surveying, whilst to his studies
he added history and classical mythology. One day, not many years after his mar-
riage, he saw a fine piece of enameled pottery. Charmed with its surface, " soft as
the touch of a baby's hand,"* he determined to master the secret of its manufacture.
Knowing absolutely nothing of the art of Pottery, totally unacquainted with the
composition of the enamel, he bent himself to the task of mastering it with the
determination characteristic of him. At the neighboring village of La Chapelle des
Pots, he learned the rudiments of the potter's art ; his own profession had taught
him something of painting and firing of enamel colors, and on this slender basis he
commenced his experiments.

Year after year he struggled on, often groping blindly, sometimes with a gleam
of hope, but never wholly disheartened. His friends and neighbors looked upon
him as a madman. Often his wife and children went supperless to bed, the last
penny spent to purchase the wherewithal to pursue his investigations. In vain his
wife pleaded ; the kiln with its capacious and unrelenting maw swallowed up every-
thing and the direst poverty stared them in the face. For nearly sixteen years he
struggled on, enduring the reproaches of his wife, the death of his children, the
pathetic look of hunger in the faces of those spared to him, and the revilings of his

*Right Hon. W. E. Gladstone in a speech at Burslem.

Falisey.

FRANCE.

neighbors. He felt that he was nearing the solution of the problem, but with
exhausted credit he could no longer procure fuel to fire his kiln. Success he felt
was within his grasp, and undaunted by failure, he sacrificed his furniture for fuel.
One by one the few domestic articles disappeared in the kiln, his wife and children,
hungry and ragged, in vain imploring him to desist. If this failed, it was of neces-
sity his last experiment. The very last stick of furniture had been thrust in the
kiln, the house had been stripped of every vestige of woodwork and who shall
attempt to portray with what emotions Palissy awaited the result. At last the
time arrived when he should know whether he had been successful or — but he
dared not face, even to himself, the alternative. With trembling hands he drew
the few pieces from the kiln — for a moment he dared not trust his senses — he
looked again — the enamel had fused and the success he had toiled for so long had
come.

For some years Palissy enjoyed untroubled reward for his years of toil and
unflinching tenacity of purpose, patronized by Catharine de Medici; — courted by
those who had previously reviled him as a madman. He becamed enthralled with
the doctrines of the Keformation, devoted himself heart and soul to the cause, and
in 1558 was arrested and imprisoned at Bordeaux, his kilns and materials being
destroyed. Through the intervention of the king, he was liberated in 1563 and set
up a pottery in Paris, where until 1588, he lived and prospered, but a fresh wave
of religious intolerance swept over the country and he was in that year sent to the
Bastile. Henry III. offered him his freedom if he would recant, but the stern old
potter indignantly refused, and he was sentenced to execution, but died in 1589,
before it was carried out, nearly eighty years of age.

Palissy occupied an important position as a writer, perhaps more so than a pot-
ter. He wrote on such varied subjects as religion, agriculture, and natural philoso-
phy, but his book," L'Art de terre," in which he gives the story of his life and works
is perhaps his best known work. We know from this book that Palissy was aware
that the enamel was in common use in Italy at the time he was making his experi-

ROUGH NOTES ON POTTERY.

ments (as also it was at Rouen), and that its secret could have been learned in the
workshop there, " but in no workshop could he have learned the secret of his
enamels, so pure, so brilliant, so rich and deep in tone, that they have never been
equalled since, and admittedly rank amongst the most wonderful production of
human industry." His first productions, to use his own words, were " those ves-
sels of intermixed colors after the manner of Jasper." They are warmly and bril-
liantly colored and covered with a pure and deeply toned glaze. Later he made
his celebrated Rustic dishes, decorated with realistic figures of natural objects,
snakes, fish, insects, shells and plants. There is a wonderful wealth of detail in
these, ensured by moulds taken from casts made from the objects themselves. The
body was a hard, well fired earthenware. His later works somewhat deteriorated
and lacked the care and finish bestowed on earlier specimens. Unfortunately Palissy
did not confide to others the secret of making his enamel and it died with him.

There are obvious inferences to be drawn from the life of Palissy, and we must
not allow his success to blind us to his neglect of his wife and family. A row of
tiny graves, a neglected wife, a desolate home, all rise before our vision, and we are
tempted to ask whether success was not purchased at too great a cost.

Imitations of Palissy ware have been made by Barbizet, of Paris; Avisseau, of
Tours, and Calder, in Portugal.

Faience d'Oiron

THI
w

S celebrated
ware is often
i n correctly
called u Henri deux"
ware, it being thought
to be the production of
a pottery established un-
der that monarch's pa-
tronage, owing to the
frequency of his emblem
forming a component
part of the decoration.
Comparatively recent
research, however, has
established its real ori-
gin by incontrovertible
documentary evidence. It was made between the years 1524 and 1537, at the
Chateau d'Oiron, in the province of Thouars in France, by Francois Cherpentier
and Jehan Bernart, under the direction of a wealthy lady named Helene de Han-
gest. It appears to have been made entirely for presentation purposes, and only about
fifty pieces are said to be in existence. There are eleven pieces in the Louvre, five
in the South Kensington Museum, and the remainder in the hands of private collec-

FRANCE.

tors, mostly the Rothschilds. From their rarity the specimens are extremely val-
uable, ranging in value from four to forty thousand dollars each. The forms are in
most cases very elaborate, and consist of ewers, salt cellars, tazzas, plates, &Qm
The ware is a fine white clay to which a delicate cream tint is given, by a very
slight tinge of yellow in the glaze. The patterns, which were very intricate and
seem to have been suggested by the highly ornate book covers of the period, were
first incised or impressed in the clay, and then these sunk portions were filled up
with different colored clays in dark brown, soft yellow and buff. As all these clays
had to shrink during the firing in exactly the same proportion, the difficulties attend-
ing the manufacture can be readily estimated. It is this triumph of potting that
gives them their especial value. After the death of Helene de Hangest, in 1537,
the manufacture was carried on under the direction of her son, but the artistic
spirit of his mother was wanting, and after the death of Cherpentier and Bernart,
the manufacture fell into inexperienced hands, was neglected, decayed and soon
disappeared altogether. The mark plate 3, fig. 23, is often incorporated in the
designs. Mintons produced some excellent copies of this ware, executed by
Charles Toft, as did also Deck of Paris, but they have, of course, only a relative
value.

French Faience and Earthenware.

/IHOUGH the production of faience
was vigorously carried on in Italy during
the 16th century, except for a few isola-
ted cases the art was not established in
France (although that period could boast
of two distinct kinds of pottery, which
secured immortal fame : the Oiron and
the Palissy wares) until the following
century. The industry then assumed
great importance and for upwards of a
century France had no rival in the art.
The French productions were distinctly
characteristic, establishing certain clas-
sifications by which they are still known.
Rouen, Nevers, Moustiers and Strasburg,
each suggests a certain btyle. During
the first period the decoration was
applied on the unfired enamel; and
towards the middle of the 18th century
this gave place to decorations on the
enamel which had first been fired.
Nevers ware is important on account
of its extent. From an artistic point
Nevers Vase. it had little influence, because it lacked

ROUGH NOTES ON POTTERY.

originality. Its designs were mostly copies, or adapted from Italian or Chinese
originals. During its last period it was greatly debased, consisting mostly of figure
subjects, poorly drawn and executed, and often overstepping the bounds of decency.
(Plate 1, fig. 14). To all these objections there is one notable exception. Cer-
tain pieces, probably manufactured by Custode, have an exquisite Persian blue
ground, decorated with white enamel and sometimes low tones of yellow. Nothing
can equal this blue glaze for purity and depth, and though many tried to equal it
they signally failed in the attempt. It greatly resembles and can easily be mis-
taken for Persian enamel.

Faience d'Oiron. Biberon. (See page 54.)

Rouen is celebrated for the beautiful and elaborate style of decoration originated
there consisting of alternate repeated ornaments called a lambrequins, the designs
being adapted from textile fabrics, lace, &c. These are mostly in blue, sometimes
heightened with indian red, a color identified with the Norman town and which
others vainly tried to imitate. Another decoration was termed rayonnant in which
the design rising from the border of the piece converges to the centre.

Rouen Dishes.

ROUGH NOTES ON POTTERY.

Towards the middle of the 18th century, polychrome decoration was freely
used and this induced a change of style, borders of flowers giving place to more
conventional designs. The " Cornucopia " pattern was the last success of Rouen,
for the increased use of porcelain, the treaty admitting English earthenware and

political events,
combin ed to
bring about the
declineoffaience,
and at the close
of the 18th cen-
tury no traces
were left of this
beautiful indus-
try. (Plate 4, fig.
2 1). Moustiers
ware was re-
markable for the
purity of its
milky white en-
amel, and for the
finish and deli-
cacy of the orna-
mentation,
though conceived
in a less decora-
tive style than
that of Rouen.
Our engraving
represents a pla-
teau with painted centre, copied from an engraving by Antonio Tempesta, a celebra-
ted Florentine engraver of the 17th century. (Plate 4, fig. 54.)

Strasburg had also important factories, and the industry there, carried on in
face of almost insurmountable obstacles, owes its prominence to the Hannongs.
Charles Hannong, a manufacturer of pipes and large stoves, was joined in 1721 by a
German named Wackenfeld, who had left the Meissen factory, and they commenced
the manufacture of faience and porcelain. So successful were they that, in 1750,
Hannong' s son Paul being then sole proprietor, the manufactory at Vincennes
became alarmed, and they obtained an order from the king forbidding Hannong to
continue the making of porcelain, and this decree was carried out. The unfortu-
nate potter was obliged to leave Strasburg, but the faience business was
continued by his sons Pierre and Joseph. To faience they adopted porcelain deco-
rations, a departure almost equivalent to the production of a new ware. These
delicate decorations, the richness and variety of the coloring and the elegance of
the shapes, caused the imposition of a very heavy tax, equal to that imposed on
foreign goods, against which Hannong fought in vain. Financial disaster fol-
lowed, and like his father he had eventually to leave his country, and died in
poverty a few years later. In addition to tableware, large pieces, such as clocks,

ItOUEN-STRASBURG feCHOOL.

fountains, etc., exhibiting great skill in coloring and modeling were produced.
Our illustration is of a fountain, now in the South Kensington Museum, repre-
senting Amphitrite on a shell drawn by a dolphin (plate 1, fig. 15).

These four centres all had their imitators. At first only slavish copies were
made, but later they developed some originality. Of the school of Eouen may be
mentioned :

Sincenny, founded in 1713. A prominent characteristic was the employment of
a beautiful and vivid lemon color. (Plate 4, fig. 41).

Quimper, under the direc-
tion of Pierre Causy. The
body was coarse in texture
and the enamel gray in tone,
the outlines of the decorations
roughly traced in manganese.
This manufactory was revived
by La Hubaudiere & Co.

Lille. Faience and soft
and hard porcelain were all
made here. The faience man-
ufacture was started in 1796,
by Jacques Feburier, and be-
came important under his suc-
cessor, Francois Boussemart
(plate 4, fig. 42).

Soft porcelain manufac-
ture was started by Barthel-
emy Dorez and Pierre Pelis-
sier. The decorations were
principally reproductions of
St. Cloud, but were more
delicately executed, though
the body was less white and
pure.

Hard porcelain was made
under Liperre-Durot, who was
the first to employ coal in
firing, a piece in the Sevres
museum bearing an inscrip-
tion to that effect and bearing date 1785. The factory was under the patronage
of the Dauphin, son of Louis XVI. (Plate 4, fig. 43).
Of the Strasburg School, the most important was :

Niederviller. Founded about 1742, by Jean Louis de Beyerle, with the assist-
ance of Strasburg potters. His wife, a woman of excellent taste, supplied many of
the designs and equalled in skill the decorators who had been brought from Saxony.
Under Beverle's management the manufacture of china was introduced. Some-
where from 1774 to 1780, he was succeeded by Count Custine, who appointed Fran-
cis Lanfrey, one of the ablest ceramists of the time, as manager. Under his care it

ROUGH NOTES ON POTTERY.

gained considerable importance, the china almost equalling Sevres, the decorations
remarkable for their delicacy and taste. The manufacture of faience was discon-
tinued in 1785. A very talented sculptor, Charles Sauvage, generally called Lemire,
by his tasteful productions, did much to increase the reputation of the factory.
Count Custine fought with Lafayette in the war for Independence. He presented
Washington with a handsome service made at his factory, decorated with Wash-
ington's coat-of-arms and initials. He also issued a beautifully modeled group of
Benjamin Franklin and Louis XVI. During the French Kevolution of 1789, Cus-
tine was suspected of disloyalty to the Revolutionists because of his aristocratic
birth, was tried and found guilty and duly guillotined the same day. (Plate 4, figs.
31 and 52).

Nancy. Founded in 1774 by Nicholas Lelong, who was fortunate enough to
secure the services of the celebrated sculptor Clodion, who executed the most
charming and graceful statuettes, now so highly prized as to be worth their weight
in gold.

Islettes. Started in 1737, survived until 1830. Its principal characteristic was
military subjects, painted in brilliant colors and outlined in black.

Aprey. Established in 1750. The productions of Jarry, a very talented bird
and flower painter, are much esteemed. The shapes were graceful in the extreme,
and were principally copies from models of goldsmiths. (Plate 4, fig. 44).

Marseilles had several factories. That of Savy was visited in 1777 by Monsieur
le Comte de Provence, brother of Louis XVI, who authorized the use of the title
"Manufactures de Monsieur Frere du Roi." Many pieces broadly decorated with
flowers, outlined and shaded in black, were painted over with a beautiful iridescent
green, which is not found elsewhere. (Plate 4, fig. 49). Other factories were those of
Joseph Robert and the widow Perrin. (Plate 4, figs. 50, 51).

Sceaux, near Paris, was under the patronage of the Duchesse du Maine, and
later that of the Due de Penthieve, grand admiral of France. It became celebrated
under the direction of Chapelle, but reached its zenith under Richard Glot, a clever
ceramist and skilful sculptor of ornaments. The faience body is very fine and hard.
Figures, flowers, birds and arabesques, are the usual decoration, and are generally
enriched with delicately carved ornaments and mouldings. In 1794, Glot sold the
factory to Cabaret, but he could not maintain the prestige his predecessor had given
the works, and shortly afterwards confined himself to domestic articles. Soft china
was also made under Glot, and it was of the same perfect manufacture and delicacy
of treatment as characterized the faience. (Plate 4, figs. 28 and 48). There were
also other faience manufactures at Reunes, Montpellier, St. Amand-les-Eaux, (Plate
4, fig. 53) Orleans and Apt. None of them were of great importance, or call for
more than passing mention. At St. Omar figure-pieces were produced in the Bor-
deaux style, together with vegetable-dishes and soup-tureens in the shape of cauli-
flowers and other vegetables.

It is necessary to revert for a moment to preceding events before speaking of
more modern French pottery. During the existence of the Rouen, Strasburg and
other manufactories, the industry had been protected by an almost prohibitory duty
on English earthenware, but in 1786, a new treaty was made between France and
England, admitting English earthenware at a duty of twelve per cent. This and the
increased production of china in France, proved the downfall of the French faience

COMPTOIR CERAMIQUE.

factories, the industry disappeared altogether for a period of sixty years, when
faience again came into fashion, old models and designs were brought into requisi-
tion and faience articles were made and decorated in the style of the last century,
so that it was difficult to distinguish the old from the new. English earthenware
too was much cheaper and lighter and the shapes much more beautiful.

To avoid confusion the word faience is used in this article to denote a body cov-
ered with an opaque tin glaze ; earthenware, a body with a transparent lead glaze.

Under the above mentioned conditions many English potters migrated to
France and founded factories there as will be seen from the following brief sketches
of the various factories forming the Comptoir Ceramique, an oganization recently
formed to regulate production and prices. There are of course other earthenware
factories in France, altogether, I believe, about 372, but they are either of very
small importance, or there were no facilities for obtaining information either as to
their history or productions.

Longwy. The industry here was established by the Boch freres towards the
end of the last century. About 1839 it passed into the hands of D'Huart de North-
comb, and is now D'Huart freres. Email craquele was a distinguishing feature and
brought the works into prominence. Colored stannifferous enamels of great bril-
liancy were employed, giving very effective and striking results. This crackle
ware has lately been abandoned, or produced very sparingly, but they have yet to
demonstrate their ability to produce something as strikingly original and with as
much individuality as the email craquele. A few staple goods are also produced
here.

Montereau. William Clark, from Newcastle, and Ralph Shaw, a Burslem pot-
ter, the latter after experimenting at Lille, obtained in 1775, a subsidy from the
Government, and started a manufactory of earthenware and cream color. In 1790
there were two factories at Montereau. In 1810 it came into the possession of De
St. Criq, who transferred it in 1829 to Lebauf & Thiebaut.

Creil was also established by English potters, who made printed earthenware
and semi-porcelain. It was transferred to Lebauf, Milliet & Co. and De St. Criq &
Co. Semi-porcelain was made until 1860, after which the business was restricted
to earthenware. For the present, on account of economic reasons, the factory has
been transferred to Montereau. Twenty years ago both factories were at their
zenith, but a period of disaster followed, and it has been a stubborn fight to recover
their lost prestige. Staple goods only are produced.

Gien. Hall, an Englishman, whohad been at Montereau, foundedtheindustry here
in 1820. In 1866 the old works were pulled down and a modern factory erected.
In 1870 the factory was devoted entirely, or almost so, to the imitation of old
Rouen, Nevers and Strasburg dinner ware by the decalcamanie process, in which
they were eminently successful, and specimens are now much sought for. At pres-
ent ornamental goods only are produced.

Sarreguemines. Founded by Paul Utzchneider in 1770, and is still carried on
under the name of Utzchneider & Co. (plate 3, figs. 33 and 34). To retain its claim
as a French factory the firm have recently opened a branch works at Degoin in
France. The manufacturers were varied, ranging from china and earthenware to
figures and groups in biscuit and Wedgwood Jasper ware, and have always had a
high reputation. For the moment they are producing some very effective large

ROUGH NOTES ON POTTERY.

vases and pedestals in majolica, and are devoting a good deal of attention to Art Tiles.

Choisy le Boi. Messrs. H. Boulanger & Co. make large quantities of staple
goods principally for the Paris market, and some ornamental pieces very decorative
in character. (Plate 3, fig. 35.)

Bordeaux Founded in 1714 by Hustin. Its first productions were in the
Rouen style. Afterwards large numbers of vegetable dishes in the shape of a bird,
generally a turkey or duck, were made, such as are now used as a receptacle for
eggs. Of late years ornamental goods decorated in barbotine have been the princi-
pal production, but the establishment has been bought out and closed by the
syndicate. (Plate 4, fig. 46.)

Luneville. This important factory was founded about 1729 by Jacques Cham-
brette. The style of Nevers and Strasburg was followed and an almost instan-
taneous success resulted. To such proportions did the business grow that Cham-
brette built two other factories, one at Luneville and the other at St. Clement, six
miles distant. King Stanislas had been a patron of the works, and upon the death
of Chambrette, in 1858, when the business came into the hands of his son and son-
in-law, Charles Loyal, the king confirmed the privileges already granted and gave
to the pottery the title of Manufacture Royale. About 1772, the prosperity of the
three factories began to decline, Chambrette became bankrupt and the management
of them devolved upon Loyal. In the St. Clement factory he gave an interest to
Cyffle, the sculptor, but his means were soon exhausted and in 1778 he sold the two
Luneville factories to Sebastien Keller, whose direct descendants are now the pro-
prietors. He kept on the St. Clement works for some time but had finally to sur-
render it, and after undergoing many experiences, in 1824 it came into the hands of
Mr. Germain Thomas, under whose skilful direction the adverse tide was turned.
It remained in his family until 1890, when it was purchased by Keller and Guerin,
a son of Mr. Thomas continuing as its director.

The Luneville factories owe much of their importance to the sulptor Cyffle, the
author of many charming and greatly admired statuettes. Cyffle went to Lune-
ville in 1746, where he was entrusted with several important works by the king's
sculptor, but these were large allegorical subjects, and were not to his liking, and
he soon devoted himself to small statuettes, gener ally depicting scenes in humble
life, such as " The Cobbler Whistling to his Starling," ''The Savoyard Chimney-
sweep," " The Gardener and his Wife," and such like subjects. He was of a free
and easy nature, fond of the wine shop, and was at his best when reproducing
popular scenes and types. His sense of humor was of the keenest, u his knowl-
edge of modeling, truthfulness, skill and delicacy of touch were essentially
typical and personal and imparted value even to his least important works."
His profligate life prevented him from acquiring the wealth his talents entitled
him to, and he died at Bruges, his native city, in 1806, in poverty and obscurity.
His statuettes were always in white and are known as terre de Luneville. Many
of the original moulds are still in the possession of Keller and Guerin. They were
at one time reproduced by them, but it is some time now since any have been
issued. The Bellevue Pottery had some moulds made from casts of the original, but
the Luneville statuettes alone are marked, impressed in the clay

Cyffle

A LUNEVILLE.

FRENCH EARTHENWARE.

They have in France a proverb : 11 Se regarder comme des chiens de faience "
(to stare at one another like crockery dogs). Luneville produced large faience
pieces in the shape of huge dogs, and it became the fashion to place one of these
on each side of the door, and hence the proverb.

To have carried the factory successfully through the troublous times at the
close of the last century, is evidence of no small ability on the part of Mr. Keller,
especially as he had begun to develop a higher class of wares, a development admir-
ably carried out by his son, the present proprietor and his partner, Mr. Gueriu. The
present productions at Luneville are so varied that we can only here briefly glance
at one or two of them. Staple goods are produced in abundance and of an infinite
variety, bowls and cups and saucers predominating. Turning to the higher
branches of art, we find a varied collection of ornamental goods iu which pieces of
heroic size predominate.

A vase with thistle decoration is over five feet high and is enriched with a
luminous sea-green glaze. This decoration is also applied to a variety of shapes
and sizes. There are many reproductions of the best specimens of the old Rouen
and Strasburg faience, carefully executed, both in technique and design. Vases, both
large and small, with flower subjects painted on the wet clay and covered with a
warm reddish brown glaze of exceeding softness and apparently inexhaustible
depth, rivet your attention, and you are undecided whether the charm lies in the
exquisite modeling and drawing of the flowers, or whether there is not some sug-
gested quality you can hardly define.

A few months ago Messrs. Keller and Guerin discovered the secret of produc-
ing what is termed reflets metalliques. It is difficult to describe exactly the effect
produced. The piece, whether it be vase or placque, is painted with various metal-
lic oxides, principally copper and silver, and during the process of firing, artificial
currents of air are introduced in the kiln, which causes a partial crystalization of the
oxides in the pigments, leaving a beautiful metallic deposit of so iridescent a nature
that the painting presents almost kaleidoscopic changes of color when seen in vary-
ing lights. No two pieces are alike, so there can be no duplicates. They are the
only firm who produce these reflets metalliques on earthenware. ( Plate 3, figs. 37,
38, 39).

Montagnon of Nevers shares the honors with the above house in his reproduc-
tions of old French faience.

Clement Massier, Golfe Juan Pottery in the south of France, produces mostly
large jardinieres and pedestals, in glazes suggestive of lapis lazuli, cornelian and
agate. The pieces are all splendidly potted and the glazes are veritable triumphs.
No words can do them justice. They must be seen to be appreciated. M. Massier
was the first to re-discover the reflets metalliques, applying the process to faience.

Of recent years no one has done more for the Ceramic Art than Theodor Deck
of Paris, and France may justly be proud of him. Of pure and delicate taste, he
has overcome, one by one, all difficulties, whether the revival of that splendid car-
nation red, the secret of which was previously known only to the potters of the
East, the re-discovery of Chinese enamels, or the imitation of Faience d'Oiron.
With the help of the best artists obtainable, he has founded a distinct style of his
own, a style that future generations, no less than that of to-day, will recognize as
representing all that is noblest in the Ceramic Art.

ROUGH NOTES ON POTTERY.

France= Porcelain.

(St. Cloud — Chantilly — Vincennes — Sevres.)

FRENCH CHINA is of two kinds, pate tendre (soft or artificial porcelain), and
pate dure (hard or natural Kaolonic porcelain). The importation of Chinese
porcelain into Europe stimulated the potters of every country to discover
its properties, or make an imitation of it. Although no specimens are
known, there is documentary evidence that artificial china was made in Venice
about 1470 : the first dated example being a piece of the celebrated Medici porcelain
(plate 1, fig. 9) made at Florence, and dated 1581. Nearly a hundred years afterwards
— in 1673 — a patent was granted to Louis Poterat, a faience manufacturer of Rouen,
for the production of porcelain. Some pieces, undoubtedly of his manufacture, are in
existence, but he does not appear to have followed up his first success (plate 1, fig
6). Possibly the production was attended by too great a loss, or his faience business
demanded all the attention he could bestow upon it. Be this as it may, the first fac-
tory devoted to its production was the one established at St. Cloud, in 1675 (plate
1, and plate 4, fig. 36). The porcelain produced there was "of a fine milky white
color, of a soft and warm appearance, very transparent and
very tastefully and carefully decorated with lambrequins, or
arabesques in the pure French style, or with subjects in
colors imitated from old Chinese and Japanese patterns."
The factory was burned down in 1773, and was not recon-
structed.

The Chantilly Works were founded in 1725, under the
patronage of the Prince de Conde, and evinced a great
improvement over St. Cloud in the character of the decora-
tions, on account of the greater simplicity of its products,
principally copies of Imari ware. Corean decorations, of
which the prince had a fine collection, were also copied.
Like the Medici china, elsewhere described, the Chantilly
ware was covered with a thin tiu glaze, which was produc-
tive of very harmonious and delicate tones in the decora-
tion. After the death of its founder, the character of the
work deterioated (plate 1).

In the meantime at Vincennes, two brothers named
Dubois, formerly employed at St. Cloud and Chantilly, in
conjunction with the Marquis Orry de Fulvy, commenced
in 1740 to manufacture there ; but after several years of long
and costly experiments whose failure was due to their want
3* (JfOU D. of skill, the brothers left and were succeeded by their assist-

ant, Gravant. By careful management and application,
matters had progressed so favorably that in 1745 they were able to show results of
such merit as to determine the ultimate success of the works (plate 1). A royal

FRANCE PORCELAIN.

subsidy was granted, the king, the dauphin and the Marquise de Pompadour, took
a great interest in the factory, and porcelain became quite fashionable. Stringent
laws were passed to protect the industry and preserve the secret of the composition
of the body, though, as far as the latter is concerned they were unavailing. As has
been stated before, hard porcelain is composed of Kaolin and pe-tun-tse ; whilst the
composition of the Vincennes china consisted of Fontainbleau sand, saltpetre, soda,
alum and gypsum, or parings of alabaster. This was fired for fifty hours and form«d
afrit, or vitrified paste. After grinding, it was mixed with a coarse clay in the pro-
portion of nine to three, and the paste thus obtained was kneaded by machine and
made plastic with soap and boiling water. This was then fired, and was ready for
the application of the glaze, composed of Fontainbleau sand, litharge, salts of soda,
Bougival silex and potash, melted in a crucible and pulverized. To make it adhere
to the body, vinegar was added. After firing, the ware was ready to receive the
decoration. Pate tendre " is so composed in body and glaze that it alone of all ceramic
wares can perfectly assimilate itself with colors, in such a manner as to present to
the eye the appearance of one surface. In the case of French porcelain or English
faience it is always possible to separate the colors from the body. In the case of
pate tendre, on the other hand, no such distinction can be drawn. It is impossible to
separate the one from the other. " It is this feature that renders it possible to dis-
tinguish it from English china, which it greatly resembles in transparency and color.
The appellation of pate tendre was only applied to artificial porcelain in the early
part of this century, until then it was known as French or Sevres porcelain. It is a
misnomer however, as the body is much harder than the glaze.

In 1753, upon the death of the Marquis de Fulvy, the king took one-third of
the shares and officially gave the works his patronage, authorizing it to assume the
title of the Koyal Manufactory, with instructions to mark all pieces produced with his
monogram. The business increased to such an extent that the premises at Vin-
cennes were no longer adequate to its requirements, and, accordingly in 1756, the
plant was transferred to

Sevres.

Up to this time, in addition to the flowers modeled in relief, for which the man-
ufactory was so celebrated, vases with bleu de roi and rose Pompadour grounds (some-
times erroneously called Rose du Barry) ; a large variety of fancy articles, and table
services decorated with exquisite minute paintings ; and groups and figures skill-
fully executed from designs by Boucher and Vahloo were produced. Greater
manufacturing successes followed, but disagreements ensued among the promoters
and it was dissolved in 1759, the King becoming sole proprietor. Boileau was
maintained in his position as director. The manufactory having been established to
nullify foreign competition, eagerly accepted the offer of two German workmen,
Busch and Stadelmeyer, to disclose the secret of the Meissen china. But as their
process depended on the employment of materials not found in France and which
would have to be imported at great expense, their services were dispensed with.
Macquar, a chemist of the establishment, was strongly of opinion that Kaolin
existed in France, and it was eventually discovered at St. Yriex, near Limoges, by
Madame Darnet, the wife of a poor country surgeon. Unfortunately Boileau did

ROUGH NOTES ON POTTERY.

not live to reap the benefit of this discovery, as he died in 1773. He left 300,000
livres in the coffers of the works and other assets for a similar amount. This large
sum was entirely squandered by his successor, Parent, in less than six years, his
brief but expensive directorship ending in a prison, to which he was sent for reckless
mismanagement. Regnier, the sub-director, succeeded him and the manufacture of
important works in pate dure was carried on so successfully that in 1789 Sevres
stood without a rival. About this time jeweled porcelain was first made. Political
events and private competition, which robbed Sevres of its best workmen ; the great
revolution and overthrow of monarchy brought troublous times to Sevres, and it was

not until 1808 that the resulting arrears were
definitely settled. Under the Directory the ad-
ministration was vested in Salmon, Hettlinger
and Mayer, who were succeeded in 1800 by the
illustrious Alexandre Brongniart, whose name
will for ever be associated with Sevres. Under
his management it was not only a royal manufac-
tory, but it became a public benefaction, realizing
more than ever its mission as setting an example
and encouraging private enterprises, without com-
peting with them. During this period, by the
decree of 1753, all pieces had been marked with
the cross L's, with the addition of a letter : A for
1753; Bfor 1754, &c; Z for 1776, when double
letters were commenced and continued until K.
R. 1793. The mark was then changed to Sevres
with the initials R. F. below, which was aban-
Brongniart. doned in 1800 and the word Sevres alone remained.
In 1801 the use of letters was resume J as follows :

1801

-II-

1805

1809

1813

1302

1806

1810

1814

1803

1807

1811

1815

1804

1808

1812

1816

and a printed mark — from 1804 to 1809 — added, (manufacture M Imple

imperial e de Sevres, 1806). In 1810 the Imperial eagle was used de Sevres

and then followed the marks given on plate 1. ^>

These marks were all kiln marks, but in 1848 an underglaze mark was adopted
bearing the monogram L. P., but it was soon replaced with an oval with the letter
S and date of manufacture. This mark was suppressed in 1878, but resumed in
1879. When cut through it indicates that the piece was not decorated at Sev-
res. M. Brongniart decided that no more pate tendre should be made at Sevres, and
in 1804, sold all the undecorated white ware at very low prices to Paris decorators
and others, who were not slow to avail themselves of the advantage offered them.
If this was on his part an error of judgment he amply atoned for it by the reforms
he instituted and carried out, setting the example himself by accepting 3,000 francs
instead of 6,000 ; the amount fixed for his salary. He secured the gratuitous ser-
vices of many eminent artists to furnish designs, and by 1804 had made the factory
self-supporting, when it became the entire property of the Emperor. In 1832

SEVRES .

he organized the unique Museum at Sevres, to-
day a lasting monument to his memory. Under his
management vases nearly eight feet high were made
on which were painted copies of the most celebrated
works of the day, to perpetuate the chief events in
the life of Napoleon I; large busts of the Emperor and
of the two Empresses ; elaborate table services with
borders of war trophies ; statues of fame and Egyp-
tian monuments, all told of the Emperor's victories.
The taste of such productions may be open to criti-
cism but their execution is beyond dispute. Brong-
niart died in 1847, the crowning glory of his life be-
ing the writing of his Traite des Arts Ceramiques, in
which all the Sevres processes are minutely described.
The Royal factory undoubtedly exercised a very great
iufluence and it is not too much to say that every
progress made for the last hundred years in French
Ceramic art is almost entirely due to Sevres. Let us
cite a case : The failing fortunes of the earthenware
factories were brought to Brongniart's notice and he
immediately placed the whole resources of the factory
at the disposal of M. de St. Amans, in his endeavor to
save those interests from ruin, in which he was hap-
pily successful. Brongniart was succeeded by Ebel-
men, who died five years later, and in turn Regnault
was appointed director. On account of family afflic-
tions he resigned during the Franco- Prussian war
and was succeeded by Louis Robert. The Paris
Exhibitions of 1874 and 1878 bear evidence of his
efficiency. He died in 1882, and M. Lauth, a chemist
and member of the Paris Municipal Council, succeeded him.

Towards 1850 Louis Robert introduced the process of Pate sur pdte painting.
It is difficult to exactly describe what this is. It is not strictly speaking painting,
nor yet is it modeling, but a blending of the two. Many difficulties presented
themselves ; there were tremendous losses ; but at the London Exhibition of 1862
a very successful set of cups were shown. Salvetat, the distinguished Sevres
chemist, by his experiments did much to reduce the difficulties. The simplest form
is a decoration with white slips on a ground to which coloring oxide has been
added, the modeling being produced by transparency according to the thickness of
the slip or paste. M. Solon exhibited some successful pieces at the Paris Exhibi-
tion in 1867, but after the war he went to England, and from the Minton
factory issues the most graceful and poetic fancies created by his pure and
lofty genius.

ROUGH NOTES ON POTTERY.

French China. (Continued.)

Menneey. Under the patronage of the Duke de Villeroy, in 1735, this factory-
was founded by Francis Barbin. The styles of decoration were very varied, ranging
from the simple designs of Chantilly to the more ornate decorations of Sevres.
(Plate 4, Fig. 26.)

Orleans. In the same year Gerault established a factory at Orleans. Flower
paintings and biscuit figures were produced. (Plate 4, Fig. 29.)

Paris. At La Courtille, (see PoujTat,) Jean Baptiste Locre produced fine
hard porcelain, very translucent and the glaze soft and even. The factory was
established in 1773. (Plate 4, fig. 30).

At Clignancourt, in 1775, Pierre Deruelle produced soft porcelain, under the
patronage of the brother of the King (Count de Provence) (plate 4, figs. 32, 33).
The factory in the Rue de Bondy, founded in 1780, was under the patronage of the
Duke d'Angoulem^ and produced vases of great beauty (plate 4, fig. 34), while
that of Pont aux Choux, founded in 1784, two years later came under the patron-
age of the Duke of Orleans. (Plate 4, Fig. 35.)

Limoges. Considering the importance of Limoges as a large china-producing
centre, it scarcely seems to have received the attention it deserved by writers on
ceramics. The earliest factory of which we have any information was founded by
Sieur Massier, in 1737 as a faience manufactory. A large dish in the Sevres
Museum painted in green with a stag-hunting subject, is marked u Limoges, 1741,"
and there is a dish with the same mark in the Limoges Museum. Soon after the
discovery of kaolin at St. Yrieix the factory was converted into a china manufac-
tory. This was in 1773. In 1784 it was absorbed by Sevres, Gabriel Grellet acting
as director. He was succeeded by Francis Alluaud but the arrangement did not
work altogether satisfactorily, and in 1793, Sevres relinquished the control and it
again passed into private hands, the new proprietors being Joubert and Cancate.
In 1797 Francis Alluaud started the Casseaux works and he had also control of one
of the kaolin mines. In 1858, Charles Field Haviland, an American, married a grand-
daughter of the original proprietor, thus uniting the old and new regime, and ten
years later he succeeded Mr. Victor Alluaud in the direction of the factory. M.
Alluaud the founder was mayor of Limoges in 1792, and author of several import-
ant books. History also names him among the members of Tiers etat, giving him
title of 11 Director of the Royal Porcelain Factory at Limoges." This refers to the
time when Sevres controlled the Massier factory. His son, Francois, was also
mayor of Limoges in 1833. He received the cross of the Legion of Honor, with
the title of Chevalier in 1832, and was decorated with the 11 Rosette d' 'officier11 in
1858 on the occasion of the visit of Prince Napoleon to his factory.

The Baignol factory seems to have been the principal one in Limoges during
the first Empire. In 1844 Brongniart, the celebrated Sevres director, wrote that the
china produced in Limousin formed more than three-quarters of the entire French
production.

FRENCH CHINA.

J. Pouyat.

THE Pouyat family have long been identified with the city of Limoges,
and its citizens have freely conferred on them the highest honors within
their gift. Pierre Pouyat, who was consul in 1743, established in 1760 a
faience manufactory at St. Yrieix, and specimens are still occasionally met with in
the Departement Haute-Vienne, marked with a capital P. This factory was in full
operation at the time of the discovery of kaolin at St. Yrieix, and Pouyat at once
recognizing the value of the discovery bought a bed of the finest quality. Paris
was then the best market for china, and there were established there four or five
factories, the principal one of which, La Courtille, near Fontaine au Poi, Mr. Pou-
yat purchased. Hard porcelain was already produced here but under German influ-
ence and dominated by German taste. To change the whole style of production of
a factory with an already well-established reputation (it was founded in 1773 by J.
B. Locre) required some courage, but Mr. Pouyat did not shrink from the task, his
object being to found a distinctively French industry. Success seems to have come
quickly and to Mr. Pouyat must be ascribed the credit of having made in body and
composition, from native material, the first French hard porcelain. Specimens of the
old pink and blue "Barbeau" pattern of La Courtille are eagerly sought for and
are known as " Old Pouyat."

At La Courtille they were the first to
employ grand feu colors, not only blue,
but also a brown known as ecaille and a
violet. The coulage or casting process was
known and practiced as early as 1791,
while it was not adopted at Sevres until
1814. For his services to French Ceramic
Art Mr. Francois Pouyat received in 1830
the cross of the Legion of Honor. He
died in 1838, aged 86 years. His son, J.
Pouyat, who had been his partner and
active collaberature, succeeded him. He
founded in Limoges, in 1842, a factory
which soon assumed considerable import-
ance, gathering around him the best
workers then to be found, and aiming at
and effecting a high standard of excellence
in the goods manufactured. He was suc-
ceeded by his sons, Emile, Louis and
Eugene. To such extensions had the business grown that it became necessary to
build a new factory to keep pace with the demand and this was accordingly done
in 1849 when the St. Leonard's Works were erected. The Pouyat china is remark-
able for its fine texture, and such confidence had the firm in its excellence that at the
Paris Exhibition of 1855 and the London Exhibition of 1862, they had the courage
to make a specialty of their white ware without calling in the decorator's aid, con-
tent in the assurance that it would best indicate that for which they had always
striven, viz : purity of body and glaze and artistic excellence in design. Nor was this

ROUGH NOTES ON POTTERY.

confidence misplaced, as in each case the highest possible award was bestowed upon
them. Especial attention was attracted by the thinness and lightness of the cups,
which won them the name of Tasses mousseline and which has since become a generic
term to denote extremely thin cups. It was for these same qualities that the first
prize was awarded to them at the Paris Exhibition of 1878, and Mr. Dubreuil, son-
in-law of Mr. Louis Pouyat and manager of the factory, was created a Chevalier of
the Legion of Honor.

In 1890, Mr. Emile Pouyat, who in spite of his great age had always participated
in the active conduct of the works, entrusted the management to his grandson,
Baron de la Bastide, and Mr. G. Dubreuil, grandson of Mr. Louis Pouyat.
While paying special attention to their white ware, so distinguished for its thinness
and translucency, many beautiful decorations come to us from the Pouyat factory.
One of the Pouyat specialties is the excellence of their underglaze (fraud feu) Sev-
res blue, which the chemist from the Sevres factory attributes to the quality of the
clay which is peculiarly adapted to the assimilation of cobalt. Mr. Charles Laurent
is the manager of the painting department and his facile pencil enriches many of
the ornamental pieces with finely conceived and delicately executed flowers and
figure subjects. Mr. Beylac, a skilful modeler, is responsible for many of the really
very fine shapes produced.

Our illustration is of a white china centre piece representing the four seasons,
presented by the firm to the New York Metropolitan Museum of Art. The base is
40 by 36 inches, and the height 36 inches. It is a good example of the Pouyat
china and an excellent specimen of modeling. Only four of these were made.
One is in the Sevres Museum, another in the one at Limoges and the third one
is retained at the factory.

The firm upheld their reputation at Chicago by carrying off the highest awTard
in the power of the jury to bestow. (Plate 2, fig. 7.)

Haviland & Co.

THE sight of a piece of enameled faience altered the whole course of the life
of Palissy ; the importation of a French china tea set to America revolu-
tionized the trade of Limoges. The introduction of the manufacture of
porcelain in Europe owes its inception to the weight of a wig. And of such trifles
is history made. When in 1839 Mr. D. Haviland, who was an importer of English
earthonware in New York, saw the tea service referred to, it appeared to him so
superior to the wares he was importing that he decided to introduce it here. There
was no mark to guide him, nor could he obtain any information about it, but he was
not easily to be discouraged, and with the sole knowledge that it was made in
France, he started out to solve the problem. Eventually his enquiries led him to
Limoges, and though the search was ended, his work had but begun. The shapes
and decorations were limited and unsuitable for this market. Accordingly he set
to work and furnished to the factories there, patterns of plain services, then only
made in England, and while they were executing his commissions for white ware

FRENCH CHINA.

he organized large decorating shops, employed pupils and skilled professors, and in
this modest manner started a business destined to grow not only to colossal pro-
portions, but to represent a standard of excellence synonomous with all that is
best and truest in ceramic art. This radical departure caused something very near
approaching a riot in Limoges, and for a time pupils and professors could only go
about in bands, in order to protect themselves from assault. In 1840 Haviland &
Co., initiated the exportation of French china, and though the first four years only
averaged about $100,000 per annum, in 1880 the average amount had increased to
$1,400,000.

When Mr. Haviland from decorating only, turned to manufacturing, it was with
facilities largely in advance of anything then existing at Limoges. Plates are now
made entirely by machinery, enabling them to turn out about 11,000 per day. And
while other labor-saving devices were adopted, that the artistic element was not
neglected is evidenced from the fact that as early as 1885 two hundred decorators
found employment there.

In 1873, at Bourg-la-Reine, Messrs. Chaplet, Laurin and Lafond discovered a
new process of decorating earthenware, and Haviland, quick to perceive its value,
secured the services of M. M. Chaplet and Lafond. The process, very briefly, con-
sists of decorating the wet clay before it has been fired, somewhat after the man-
ner employed on early Italian pottery, but yielding results much superior in detail
and softness. Miss Young in " The Ceramic Art," describes at length all the most
important works produced from the Haviland studios, and to her interesting work
the reader is referred. (Plate 2, fig. 6).

E. Gerard, Dufraisseix & Co.

(Charles Field Haviland.)

WE have seen in our brief sketch of Limoges something of the history of the
old Alluaud factory, and it is therefore needless to recapitulate it here.
Mr. Charles Field Haviland went to Limoges in 1851, and in 1859,
commenced to decorate china. Consequent upon his success, in 1861
he enlarged his sphere of action and began its manufacture, catering principally for
the American market. In 1868 he assumed the entire control and direction of the
Alluaud factory, continuing its management until 1881,
when he relinquished the active control. He remained a
special partner until his death, which took place June 12,
1896. He was succeeded by E. Gerard, Dufraisseix &
Morel. M. Gerard had long been identified with the china
industry at Limoges, and, under his management, the
growth of the firm has been most gratifying. The large
factory soon became inadequate to meet the demands for
its productions, and, during 1892, it was entirely remod-
eled and large additions made, so that its productive capa-
city is now nearly fifty per cent, greater than formerly.
This phenomenal growth may be accounted for by improve-
ments in the body ; the production of art istic designs in both

ROUGH NOTES ON POTTERY.

shapes and decorations ; the employment of the most modern machinery, and the
best available talent, and to the general esprit du corps which M. Gerard infused
throughout the whole of the manufactory by his appreciation of the importance of
small things, his unfailing energy and consummate skill.

Their e xh i b i t at the
World's Fair was an evidence
of the progress made by this
house, including as it did
many examples of feu de four
which necessitate the employ-
ment of colors requiring the
same degree of heat as the
body itself, by which means
the closest possible affinity is
secured. Hitherto such results
had been but imperfectly real-
ized ; the colors had been
sombre in tone, and the pro-
cess an expensive one. We may therefore feel justified in regarding the employ-
ment of bright colors which Messrs. Gerard, Dufraisseix & Co. have successfully
produced, suitable for the decoration of tableware, which necessarily demand such,
as a distinct advance in ceramics. The result is a beautiful softness, the colors
so assimilated with the glaze as to
render it almost impossible to separ-
ate them. It is this affinity of color,
body and glaze that constitutes the
charm of Sevres' Pate tendre.

The C. F. H. china is so well
known as to render criticism super-
fluous. The best efforts of the firm are
devoted to articles of utility, which
they are constantly laboring to im-
prove, not only in the decoration, but
in gracefulness of shapes. To-day, the
oldAlluaudfactory, its conservatism but
a tradition of the past, is one of the best
equipped and most progressive in the
world. The trade marks and dates at
which used are :

Prior to 1868 JE stamped in the clay.

1868 to 1872 C. F. H.

1872 to 1882 " " printed underglaze in green.

G. F. H. „ „

1882 to 1891.

G. D. M-

The word "France" was added in 1891 " " "

The decoration stamp has always been "Ch. Field Haviland, Limoges," in a circle.
(Plate 2, fig. 1).

FRENCH CHINA.

Other Limoges Firms.

Theodore Haviland. Much of the success that attended the firm of Haviland
& Co. was due to the active share taken in its management by Mr. Theo. Haviland.
January 1, 1892, the partnership was dissolved, Mr. Theodore retiring from the old
firm, which was reorganized as a stock company. Another stock company, with
Mr. Theodore at its head, was formed, and they erected an entirely new factory with
all the most modern improvements, organized an efficient staff, and were quickly in
the field with an extensive assortment of shapes and decorations. The success of
the enterprise is now assured, a condition that could hardly fail to result from the
quality and character of the goods produced. (Plate 2, fig. 11).

The house of Delinieres has been established about fifty years, but prior to
1881 they only made white china. In this year they added a decorating depart-
ment, giving especial attention to ornamental goods of which they make a large
variety. They have been very successful in their treatment of blue underglaze,
their artists producing some very effective and harmonious results. Mr. Delinieres,
the founder of the factory, has been decorated with the cross of the Legion of
Honor, and is also one of the directors of the Sevres factory. Up to 1893 the mark
plate 2, fig. 2, was, used, figure 3 being the present mark for white ware and the
name " R. Delinieres & Cie., Limoges," in small script in red, when a decoration
is added.

Mr. J. F. H. Vogt, in 1852, founded a manufactory of china and this gave
place in 1882 to the new firm of Tressemanes & Vogt. They make a general line
of useful goods and the bell trade mark is favorably known, whilst the initials T. &
V., have long been accepted as a guarantee of the quality of the body. Rapid devel-
opments have been made in decorations within the last few years. (Plate 2, fig. 50.)

Mr. A. Lanternier, who spent a considerable time perfecting himself in English
and in learning the pottery business with Messrs. Wedgwoods, of Etruria, com-
menced manufacturing at Limoges in 1885. His father had formerly been engaged
in the decorating business there. Perhaps the youngest of the Limoges manufac-
turers, Mr. Lanternier has succeeded in placing himself amongst the foremost in the
race, his shapes being particularly pleasing, "whilst his white ware is undoubtedly of
very superior quality. (Plate 3, fig. 36).

The house of L. Sazarat Co., is an old established one, which until a few years
ago was scarcely known in this country, but by adapting themselves to our particu-
lar requirements they are now coming to the front. Their decorations are particularly
soft and harmonious. M. Sazarat has been decorated with the Cross of the Legion
of Honor and at all the French exhibitions since 1855, has been awarded a medal.
(Plate 2, fig. 8).

ROUGH NOTES ON POTTERY.

Italian Majolica.

FROM the remote period when the Egyptian
and other Eastern nations used a stannif-
erous glaze to hide the coarseness of the
ware it covered, all trace of it appears lost
until 1235, A. D., when the Moors founded
the Kingdom of Granada. Granada and
Malaga were the seats of the manufacture
of the Hispano-Moresque pottery, and it is
probable that the celebrated Alhambra
Vase was made there. It was found in the
16 th Century under the pavement of the
Alhambra, which was built in 1248. This
vase is decorated in blue and gold lustre
with arabesques and panels on which two
antelopes are figured, on a whitish, flesh-
colored body. It was copied at Sevres, in
1842, and later by Deck, of Paris, the lat-
ter copy being now in the South Kensington
Museum. There are continuous examples of this ware down to the Conquest of the
Moors by Ferdinand and Isabella in 1492, when the style became more purely
Spanish and soon afterwards began to decline.

The estimate placed on this Hispano-Moresque pottery seems above its merit
and even its lustre for which it is chiefly remarkable, was excelled by Giorgio.
Popular tradition ascribes the introduction of majolica into Italy as follows : —

" The men of Pisa once upon a time undertook to clear the Tyrhene Sea from all
Mussulman corsairs. There was at that time an infidel king, Nazaredeck by name,
who busied himself cr uelly about the coasts of France and Italy. Twenty thousand
Christians were said to be imprisonedinhis dungeons. In the year 11 13 the Archbishop
of Pisa preached a crusade against Nazaredeck, exhorting the people to open the
prisons of their Christian brethren and to deliver them out of the power of
the infidel. It was not however until two years later that Majorca was taken, the
king was killed, his son made prisoner and carried with great spoil and booty to
Pisa. Among the spoil were many plates of Moorish pottery, which the Pisans
stuck into their church walls as trophies and ornaments. For two hundred years
this pottery was regarded as only a thing of beauty and to be venerated as a relig-
ious symbol, and it was not until the beginning of the 14th Century that the Ital-
ians began to make an imitation ware which they called majolica."

The matter is one apparently of surmise only, and the authorities are by no
means unanimous. The argument is advanced that Dante wrote " Cipri e Maiolica,"
showing the then mode of spelling the name of the Island, but are not the letters I
and J freely interchangeable in Italian in proper names? It is certain that previous
to Luca della Robbia's discovery, ware covered with a white slip and finished with
a metallic lustre were made at the potteries of Pesaro or Gubbio, and these were
later called Mezza Majolica to distinguish them from the tin enameled and lustred

ITALIAN MAJOLICA.

majclica. Towards the middle of the 16th Century the word began to be used for
all glazed earthenware. Another early form was graffito, in which the ware is cov-
ered with a white slip and is then scratched through with an iron tool, showing the
design on the colored body beneath.

But the principal interest in Italian Majolica centres in Luca della Robbia (A.
D. 1400-1481), a sculptor of eminence who wishing to protect his terra cotta fig-
ures, invented a tin glaze, much superior in quality to anything before used, and
if he was not the originator in Italy, it is certain he made such a decided forward
movement as to give him the same position in Italy that Wedgwood occupies in
England, Palissy in France and Bottger in Germany. He utilized his discovery for
painting as well as sculpture, and his earliest dated piece is 1438, as it is also the
earliest dated of any Italian tin enamel ware. The secret of its manufacture was
bequeathed to his nephew Andrea, who in turn transmitted it to his four sons, but
the purity and simplicity of the style of Luca was wanting. The secret leaked out
and workshops were established all over Italy, many of which rose to prominence.
During the first period the decoration was painted on the unfired enamel, and as
this absorbed the color very rapidly, a broad and decorative treatment was neces-
sary; but as both the enamel and colors fused at the same time, making one har-
monious whole, very rich and vigorous effects wrere produced. Later the painting
was applied on the fired enamel, and more minute details were possible, the ground
itself furnished excellent high lights, which could be attained by simply scratching
away the color and it was possible to trace the finest line and most minute details
on its hard and polished surface. By the early method pieces of the greatest deco-
rative beauty were produced with simple color effects in blue and a yellow metallic

lustre; generally figure
subjects, often sur-
rounded with borders of
medieval simplicity.
The Gubbia majolicas
have a deep ruby lustre
which was largely used
by Maestro Giorgio of
Gubbio (A. D. 1517-37),

who is further credited
with the invention of
gold and silver lustres.
So excellent were these
lustres that wares from
other fabriques were
sent there to be lustred
and often bear Giorgio's
mark in addition to that
of the place of manufac-
ture. How highly Gior-
gio' s work was regarded
is evidenced by his be-
ing created a " Maestro,"

ROUGH NOTES ON POTTERY.

a title prized even more than nobility. He was a sculptor too and some of his altar
pieces give him a high rank amongst the modelers of his period equal to that which
he occupies as a painter. The illustration is of a deep tazzain the South Kensington
Museum. Castel Durante had a manufactory as early as 1284. In 1500 mezza
majolica, graffito and tin glazed majolica were made. Plates and dishes with bor-
ders and centres of cupids were made about this time, and this style was later more
fully developed. Vases and pharmacy jars decorated with trophies and grotesques,
very soft in coloring, were also made. All old Italian palaces had a pharmacy
attached to them and instead of glass jars used pottery ones. The ware was a pale
buff color, the glaze rich and pure. The manufacture began to decline in 1631.

Urbino is celebrated for the works of the Fontana family, ' 1 chiefs among Ital-
ian ceramic artists," Guido, Camillo and Orazio, the latter the most celebrated.
His pieces are characterized by great softness of color, harmony and power of
expression. A beautiful set of vases made for Duke Guidobaldo II., have for sub-
jects the four Evangelists, the twelve Apostles, incidents in the Old Testament, naval
battles of the Romans, and the metamorphoses of Ovid. On eighty-five of them are
portrayed the games of children, every subject different. A Grand Duke of Flor-
ence offered for them a like number of silver vessels of equal weight, and Louis
XVI. offered for the four Evangelists and St. Paul an equal number of gold statues.
The Fontanas flourished during the first half of the sixteenth century, Orazio dying
in 1571. Their pieces were very seldom signed.

Another celebrated painter of the Urbino fabrique was Francesco Xanto, and
his signed works date from 1530 to 1542. They were frequently enriched with
metallic lustres by Giorgio. Critics vary so much in their estimation of his work,
which was principally adaptations from Kaphael, and other artists, that I give one
or two extracts.

"Xanto's execution, although dexterous, is monotonous and mechanical ; his
scale of coloring is crude and positive, full of violent oppositions ; the only merit, if
merit it be, being that of a certain force and brightness of aspect ; in every other
respect his coloring is commonplace, not to say disagreeable even ; blue, crude opaque
yellow, and orange-tints and bright verdigris-green are the dominant hues, and are
scattered over the pieces in full unbroken masses, the yellow especially meeting the
eye at the first glance." — Robinson.

11 Among them are examples of high artistic excellence, although many of them
betray want of care and hasty execution.'' — C. Drury E. Fortnum, F. S. A.

11 Its highest glory came with Francesco Xanto, whose broad and generally true
drawing and masterly composition mark him as one of the great artists of the
Renaissance." — Miss Young.

11 His work is very variable in excellence ; his drawing is somewhat mechanical
and coloring bright but inharmonious ; a vivid black and green are seen ; his sub-
jects for istoriati are adapted from groups in the compositions of Raphael and other
artists, but his subjects are original and show research." — Bechwith.

The production of pictured Majolica was carried on largely at Urbino up to 1630,
and it appears to have been intended entirely for decorative purposes.

As late as 1773, a French artist named Rolet had a factory at Urbino, but
beyond a single specimen at South Kensington, nothing seems to be known of him.

ITALIAN MAJOLICA.

Faenza was celebrated for
the perfection of its designs,
and, as early as 1485, men-
tion is made of the distinguish-
ing whiteness and polished
glaze of its earthenware.
CafFaggiolo, under the patron-
age of the Medici (Plate 4, fig.
37), Pesaro and nearly every
city in Italy at some time pro-
T"9.£tlZ& duced Majolica, and many fine

specimens exist in museums and private collections. (Plate 1, and plate 4, figs. 40, 58).

Towards the end of the sixteenth century the manufacture began to decline,
and, although continued during the seventeenth and eighteenth centuries, it is to
France we must look for something of equal value to the Italian product of the six-
teenth century.

About 1600 a follower of the Duke of Gonzaga, from Faenza, carried the Italian
method to Nevers, in France. Brongniart gives the following as the composition of
the Nevers body and enamel :

Body.— White limy clay 33

Yellow plastic sandy clay. 50
Gray, friable, less sandy

plastic clay 16

Enamel. — Oxide of tin 20

" of lead 80

Sand and some salt 150

3k ~

Placque by Passarin,

ROUGH NOTES ON POTTERY.

These old Italian wares have been extensively reproduced within the last few
years, the Marquis Ginori producing some excellent results. Salvini & Co. and Jafet
Torelli have been equally successful.

RafFaelle Passarin, of Bassano, does not confine himself to reproductions, but
issues some excellent compositions of striking originality, executed in underglaze
colors.

We give an illustration of a placque by this artist, through the courtesy of
Messrs. Charles Ahrenfeldt & Sons. Much of the detail has been lost, but it will
serve to give an idea of the artist's conception.

Ginori.

The Marchese Carlo Ginori, established at Doccia, near Florence, a manufac-
tory of china, and two years later sent out a ship to India for the purpose of obtain-
ing samples of materials. He died in 1757, and the already well-established works
were left to his son Senator Lorenzo, and the ownership has passed successively
through various members of the same family until the present day. Successful imi-
tations of all kinds of celebrated wares have always been a feature of this factory,
from reproductions of Luca della Robbia to copies of Sevres pdtetendre, and Meissen
and Chinese hard porcelain, several specimens of the latter having been mistaken
and sold for Oriental ware. Some of the moulds of the Capo di Monte ikctorycame
into Ginori' s hands, and he still issues reproductions from them. Lorenzo Becche-
roni, an artist of ability, is intrusted with the work, and more nearly approaches
the minute details characteristic of Capo di Monte than any of his competitors.
(Plate 4, figs. 6 and 22).

Capo di Monte and Buen Retiro.

(Plate 1, fig. 8).

The Capo di Monte factory, situated near Naples, was founded in 1736 by
Charles III., who also started the works at Buen Retiro, Madrid, after his accession
to the Spanish throne. The soft china decorations at both factories were numerous,
the blue Oriental designs of Capo di Monte and the classical shapes of Buen Retiro
being most esteemed. The former factory also produced Majolica. At Buen Retiro
(plate 1, fig. 19), blue and white cameos in the Wedgwood style, were made, and
the king had a room in the Escurial decorated with them. Some moulds of cups
and saucers from the Capo d: Monte factory passed into the hands of the Marquis
Ginori, who continues to produce them with the original mark. These have
embossed and colored figures, the cups having coral handles.

Medici,

This was the first manufactory in Europe to produce porcelain, and was founded
by Francesco, I, of the house of Medici. It existed only from about 1575 to 1587, and
was situated at Florence, under the directorship of Bernardo Buontaienti, who
received great assistance from a Greek who had learned the secret of porcelain in

ITALIAN MAJOLICA. 7\)

China. The decorations were mostly in cobalt blue, and to secure greater white-
ness the body was covered with a white enamel, to which a rich pearly glaze was
added. There are only about forty known specimens, consisting of plates, flasks,
ewers, vases and pilgrim bottles. (Plate 1, fig. 9).

Rhodian Ware.

^ » ^""^ O called because it was manufactured by Oriental potters in the Island of
Rhodes, is made of rather coarse clay, covered with a fine white silicious
' slip, on which the decorations are painted, the whole being then covered
with a thick glaze formed of silica, oxide of lead and soda. Its chief characteristic
is the use of a fine red pigment which owes its color to the red oxide of iron. This
pigment was applied in very thick body, so that it stands out in actual relief like
drops of sealing wax. Plates, tall bottles, jars, mugs and pitchers with handles
are the usual forms. They are all decorated with patterns of great beauty and
splendor of color, brilliant blues, greens and the peculiar red being the chief. The
designs are mostly flowers and sprays springing from one branch, often with black
scrolls on blue and white. Geometrical patterns are also used but mostly for wall
decoration. The finest specimens of Rhodian ware date from the 16th and first
half of the 17th centuries. * * * * The town of Lindus where
ruined kilns yet remain, was one of the chief places in Rhodes for the production
of this kind of pottery." Enc, Brit.

Good reproductions oi Rhodian are made by Boch Freres of La Louviere.

ROUGH NOTES ON POTTERY.

Germany and Austria.

Meissen and its School.

IT was probably the Portuguese who intro-
duced Chinese porcelain into Europe in the
13th century, though in very sparing quan-
tities and even as late as the 15th century it was
comparatively rare. From that time numerous
attempts were made to produce it in Europe,
with the earliest results of which we have dealt
elsewhere. But it was reserved to Bottger, a
young chemist of great ability, to discover— ac-
cidentally it is true — the secret of the manufac-
ture of natural or hard porcelain.

Joh. Friedr Bottger, or Bottcher, was born
in 1681, or 1682, at Schleiz, in the territory of
Beuss. His father was the master of the mint
at Magdeberg, and Schleiz. He was appren-
ticed to an apothecary in Berlin, but became an
enthusiast in the search for the philosopher's
stone. Incurring the displeasure of the authorities he was obliged to flee from Ber-
lin. He found protection and patrons at the court of Saxony, and received large
sums to enable him to prosecute his studies in alchemy. Disappointment ensuing,
as he did not of course, succeed in making gold, he was called upon to reveal his
secret in writing, and handed in a manuscript, expressed with the air of one com-
pletely master of his subject. The King however, was dissatisfied with this pro-
duction, of which he appreciated the worthlessness, and readily consented to a
request of the Count of Tschirnhausen, who desired to avail himself of the skill
which he believed Bottger to possess, for experimenting in clays, with a view to the
manufacture of porcelain. From 1701 to 1709, he worked for his patron, at Dres-
den, always closely guarded and virtually a prisoner, producing stoneware of a supe-
rior quality to that hitherto produced. He also made a ware like red jasper, so
hard that it could be cut by a lapidary's wheel. These pieces are marked (Plate
1, fig. 20). In 1710 a lucky circumstance, of which he was quick to take advant-
age, resulted in the discovery of a bed of true kaolin. One morning noticing the
unusual weight of the powder with which his wig was dressed, he enquired of what
it was made and finding it was a finely powdered clay, procured a supply of it, with
which he experimented and found that he had discovered the materials for a true
hard porcelain. The deposit of this clay was at Aue and it was dug up and packed
in sealed bags and brought to the castle at Meissen, which Augustus II. caused to be
tilized as a factory. Situated some five miles from Dresden and more like a prison

GERMANY AND AUSTRIA.

than a factory with its high walls and portcullis, where oaths of secrecy were
imposed on the workmen, it was the birthplace of the first hard porcelain made
in Europe. For nine years Bottger endured this life, and though his success was
rewarded by large presents, which he invariably squandered, the confinement
probably shortened his life and he died March 13, 1719. In the year follow,
ing, the secret was betrayed by a workman named Stofzel, who fled to Vienna,
where an imperial establishment was founded. Other workmen carried the secret to
other places, and royal works were set up in Berlin in 1755 ; in Petersburg in 1744,
and at Munich in 1748.

The early productions of Meissen were copies of Oriental china ; relief deco-
rations of flowers and foliage, and a painted underglaze decoration in dark blue.
Bottger was succeeded by Horoldt, under whose management the output of the
factory was considerably increased, both in style and quanity. In 1725, paintings
of flowers, &c, in miniature gave place to Oriental designs, and soon after followed
the well known Mayflower decorations, in which the pieces were closely studded
with May blossoms, modeled in high relief, and then colored and gilded. This was
under Briihls' administration. Statu-
ettes by Kiindler, candelabra with raised
flower work and scrolls formed a conspic-.
uous feature from 1731 to 1756. After
1774 more classical designs, purer in shape
and outline were produced. The early
Meissen, or as it is usually termed Dres-
den mark, was a snake twined round a
staff, or in cases where the pieces were
made for the King, or from his design, the
royal monogram, A. K., interlaced. Since
1721 two crossed swords have been used

as a general mark, and the addition of a dot or star marks special periods. The
letter B above the swords, or the letters M. P. M. indicate the period of Bruhl's
management. The crossed swords are the arms of the Elector of Saxony. (Plate
4, fig. 47).

The works are still in operation, many reproductions of old shapes and pat-
terns being made, but no longer in the castle with its drawbridge and keep, more
suitable premises having been erected in the Triebischthal, closer to the town, to
which the factory was transferred in 1863. The present director is F. M. O.
Raithel.

A Vienna workman named Ringler started a factory at Hochst in 1740 (Plate
4, fig. 1). It was a state establishment from 1752 to 1774 and was under the direc-
torship of Melchoir, a celebrated modeler. It is famous for its statuettes and cameo
decorations in the style of Wedgwood. Some workmen stole the notes Ringler
habitually carried with him and under the patronage of Charles, Duke of Bruns-
wick, established a manufactory at Furstenbtjrg (Plate 4, fig. 3). Some excellent
figures were made here. Ringler joined forces with Paul Hannong, of Strasburg, at
Frankenthal, about the year 1755, and it is here that the Carl Theodore china
was made. In 1761 it became a government establishment and was eventually
closed in 1800 (Plate 4, fig. 2).

ROUGH NOTES ON POTTERY.

The Duke of Wurtemberg, in 1758, founded a fac-
tory at Ludwigsburg (Plate 4, figs. 4 and 5), and this
Kronenburg china, as it is best known by, was of high
quality, its characteristics being well-modeled figures
and artistically executed paintings. This was in exis-
tence until 1821. Hochst workmen also started a
factory at Baden, which was in existence from 1753
to 1778. These same workmen also sold the secret to
a merchant named Wegley, who founded the factory
at Berlin (Plate 1, fig. 17). It did not attain much
prominence until Frederic the Great transported by
force the workmen from Dresden and ordered the
manufactory to be supplied with the Meissen clay.
China second only to old Dresden continues to be pro-
duced here (Plate 4, fig. 9). Very large vases beau-
tifully decorated, candelabra, busts, table services and
pieces in pate-sur-pate are produced. The colors on
Berlin china are especially rich and admirably con-
trasted.

Germany and Austria.

THE use of tin enamel and of enamel colors seem to have been known in
Germany as early as the Thirteenth Century, but apparently fell into
disuse and was superseded by the fine stone ware for which Germany has
so long been celebrated. This is called by the French "Gres des Flandres,"
though for what reason is not apparent. The suggestion is hazarded that it may
have been because they received it through the great emporium of Antwerp, the
distributing point for the Khine trade. In like manner Chinese porcelain was long
designated as Indian, through our receiving it via the East Indies.

The name of the unfortunate Jacquelaine of Bavaria, whose cause was so
warmly though unsuccessfully championed by the Duke of Gloucester, will always
be associated with its manufacture, she having, during her long hours of captivity,
employed herself in fashioning it.

The early examples have stamped reliefs, usually Gothic in character, or sharp
incised patterns which seemed to lose none of their pristine freshness during the
firing. Both lead and salt glazing were employed. Graffito ware was also made
during the Seventeenth and Eighteenth Centuries. A coating of white slip was
applied to a colored body, which was then cut away down to the body in the form
of the ornament required.

The best qualities of stone ware were made at Cologne.
The history of the well-known house of

VlLLEROY & BOCH

furnishes us with much valuable information respecting pottery in Germany during
the present century. It was established January 1st, 1841. Mr. Villeroy was pro-

GERMANY AND AUSTRIA.

prietor of an earthenware manufactory at Wallerfangen, which was founded in 1789
by his ancestor, Nicholas Villeroy, who for a long time struggled against adverse
fortune, and it was not until 1828, when Aug. Jaunez, a Frenchman, was appointed
director, that it was placed on a paying basis. He introduced the English system
of manufacture and considerably improved the quality of the ware.

Pierre Joseph Boch, the son of a foundry workman, had made an attempt in
1748 to manufacture pottery in Lorraine, but on account of an unsuccessful lawsuit
was obliged to abandon it, and he and his two brothers went to Septfontaines and
obtained a concession from the Austrian government in 1766, to carry on an earth-
enware manufactory there with the further privilege of styling it the Imperial
Royal Manufactory. Cream color was the staple product, but in 1790 they were
producing small china ornaments and figures in pate tendre (Plate 4, fig. 24). This
probably only lasted until 1795. In this year, during the siege of Luxemburg by
the French, the factory was destroyed, but was rebuilt about seven months later.
P. J. Boch died in 1818.

His son, Jean Francois, had in 1809 bought the Abbey of Mettlach, suppressed
by the French Republic, and obtained permission to establish a factory there, but
only on condition that coal instead of wood should be used in the firing. To Mett-
lach therefore is to be ascribed the honor of first using coal for fuel in the firing of
pottery on the Continent, as it was also the first to use the English process of print-
ing from copper plates. It was not
until after the amalgamation of the
firms that they commenced the manu-
facture of stone ware with inlaid
designs in colors, for which they have
to-day an unrivalled reputation. The
old tower in the grounds of the Abbey
was adopted as a trade-mark (Plate 2,
fig. 44). J. F. Boch died in 1858 and
was succeeded by his son Eugene. So
large a variety of goods were produced,
so many new manufactures were
added that the premises became in-
adequate to their requirements, and
the earthenware business was installed
in a new factory at Dresden, 6f which
Mr. Edmund Boch has charge, with
De Welkens as director, a position he
has worthily filled since 1874.

A factory for Mosaic Tiles was
also built at Mettlach, directed by
^Rene Boch, where immense quantities
■. of tiles are produced, and so success-
ful have they become that the term
"Mettlacher Platten," has become the
generic name for such productions in
Rudoistadt Vase. Page 84 Germany. Mosaic and wall tiles are

ROUGH NOTES ON POTTERY.

also produced very extensively. The firm have also factories at Wadgassen for
glassware; at Merzig for mosaic pavements and at Schramberg for light earthenware
and majolica. In these factories the firm employ over 5,000 workmen, and the
consumption of materials is something like 135,000 tons per annum.

The drinking vessels and vases of Mettlach with those finely drawn and
characteristic decorations, richly ornamented with inlaid colors, and the placques
and vases in the style of the old Frankish ware, with bright blue painting pre-
dominating, are the best known products of the firm, and their merit has fairly
earned the popularity they enjoy.

The general mark since 1874 is the head of Mercury, with the name of the firm
and place of manufacture below (Plate 2, fig. 46), whilst for special art goods,
fig. 47 is used, and for art goods made at Dresden, fig. 45. The mark, plate 4, fig.
25, is the earliest Mettlach mark.

Other factories whose marks are given and whose goods find a ready sale in
this country are briefly enumerated below.

Hutschenrenther, C. M., Hohenberg. The mark used by this house is the Aus-
trian shield or bee-hive of the old Vienna factory. This is printed under the glaze
on white ware principally on copies of Vienna shapes, and then sold to decorators,
who use Viennese decorations and such pieces are often impudently offered as real
Vienna china.

Gerbinge, F. & A., Bodenbach. His specialty is re-production of old Greek and
Egyptian pieces, very well done.

Herender China Factory, Herend (Plate 2, fig. 39). Established in 1839 and long
celebrated for the wonderful reproduction of old Meissen, Sevres, Chinese and
Japanese. So carefully are these reproductions made in all their details, that, as an
instance, Chinese ceramic artists are employed to decorate the Chinese pieces.

The New York and Budolstadt Pottery was established in 1882. The products
consist of finely conceived and executed ornamental goods, both in china and earthen-
ware. Among their contributions to ceramic art, a large line of vases with richly
colored grounds and figure subjects painted in panels commands special attention.
These pieces are most beautifully and artistically executed by a large staff of
painters, prominent among whom are Helbig, Miiller, Carlo, Loufer, Wagler,
Boch and Walter. It is most unusual for one manufactory to be able to find work
for so many figure painters, but it is the less surprising that such an aggregation of
talent should be gathered under one roof, when we see the beautiful results pro-
duced. The fine soft glaze is an important factor and greatly assists the artists in
producing color effects. Another line of goods have solid grounds of brilliant enamels
on which flower subjects, slightly conventionalized, are outlined in gold. The vase
of which we give an illustration is one of a series of reproductions of Greek shapes,
of which there is a large variety. Mr. E. Gutherz is the director. (Plate 3, figs. 42
and 43.)

Fischer & Mieg, Pirkenhammer, near Carlsbad, were established in 1801.
They make a good quality of china, large quantities of which are sold to decorators.
(Plate 2, fig. 42).

W. Zsolnay, Funfkirchen. Established in 1855, and produces a very fine quality
of majolica, well modeled and richly glazed. He has lately bought up the factory
of J. Fischer, Budapest, one of the most successful reproducers of old Dresden and

■ft

GERMANY AND AUSTRIA.

Sevres- The five church mark, (Plate 2, fig. 38) has such a deservedly good reputa-
tion, that we may feel sure the Fischer reproductions will not be issued under
any other.

Mehlem, F. A. Bonn, A. R. Established in 1755. Royal Bonn has long
been a a favorite ware, and though some Bonn productions have been rather close
copies of contemporary successes, there has been enough individuality about them
to remove them from the suspicion of being foisted on the public as the genuine
wares they resemble, each piece, in addition, bearing the factory mark. (Plate 2, fig.
20 and plate 3, fig. 40). Some very good pieces of Delft ware have been produced
here, running the Delft factory very close for first honors. A recent production,
giving a very charming effect, very restful to the eye, are large vases painted with
landscapes in brown, with a very effective finish in gold and colored bronzes.

Meissener Ofen & Porz, Meissen. Established in 1864 and producing princi-
pally useful articles. The well known Onion pattern, one of the original Meissen or
Dresden successes is made here in large quantities and bears the mark plate 4,
fig. 23.

Ludwig Wessell, Popplesdorf, near Bonn. An old factory in existence since
1755, and now employing about a thousand workmen. The products are styled
" Imperial Bonn," and are of about the same character as those of F. A. Mehlem.
(Plate 2, fig. 41).

J. von Schwarz, Nurembrug. A manufacturer of fine majolica, richly colored in
bright warm tones. Some of his large pieces are extremely decorative and evidence
great artistic feeling. Dr. Richard Lindhurst is the director. (Plate 2, fig. 43).

Dernheim, Koch & Fischer, Gnifenroda, Thuringia, (plate 2, fig. 37), produce
Bisque figures, raised flower decorations, &c. The miniature furniture covered
with Dresden flowers, in vogue a short time ago, was made here.

Vienna.

ONE of the runaway workmen from Meissen, named Stenzel, in conjunction
with a Dutchman, Claude Innocent du Paquier, obtained a concession in
1718 for the purpose of producing china in Vienna. Whether Stenzel was
incompetent and possessed only a rudimentary knowledge is uncertain, but no suc-
cess was obtained and he returned without divulging his secret — if indeed he pos-
sessed one. Paquier continued the works and gave them a semblance of activity
until 1744, when they were ceded to the government. Three years later Joseph
Niedermayer was named master modeler and the manufacture of small figures was
added. About this time the Austrian shield was adopted as a mark. The starT was
considerably augmented ; from the twenty employed in 1744, it reached two hun-
dred in 1770, and three hundred and twenty in 1780. But the consequent increase
in production had its effect on the quality of the goods, and a decline in style
resulted. The factory was offered for sale in 1784, but as no buyer appeared Baron
von Sorgenthal was confirmed in his position as director. He introduced some
judicious reforms, cultivated a closer study of art methods and soon raised the char-
acter of the products to a much higher level. Flaxman was employed and under

ROUGH NOTES ON POTTERY.

his direction imitations of the fine potteries of Wedgwood were produced. Politi-
cal events did much to injure the establishment until 1813 when it commenced by
degrees to recover its lost prestige. In 1856, a decision of the Reichsrath suppressed
it, and many of the models, &c, were deposited in the Austrian museum. The
mark was the Austrian shield. (Plate 1, figure 11).

Many German and Austrian manufacturers use this mark for Vienna shapes
and designs up to the present time, but it is usually on the glaze, though even if
under the glaze, that in itself is not sufficient guarantee that it is old Viennese.

Hutschenreuther, of Hohenberg, prints the mark under the glaze and mostly
disposes of the white to decorators.

Royal Danish.

THE Royal Porcelain Manufactory, at Copenhagen, no longer " Royal "
under its ownership, never had greater claims to its distinguished appela-
tive, than under its present management. There is no pandering to public
taste, if that taste, as is sometimes the case, is out of sympathy with that
artistic feeling, which has always been such a dominating factor in the production
of the factory. It is singular to what an extent the spirit of commercialism has
been suppressed. There has never been any attempt made to produce a vast output

ROYAL DANISH.

and this subordination of the commercial to the artistic motive is a characteristic of
the factory, which in view of the — presumably — remunerative prices commanded
for their productions affords food for serious reflection. A very early production of
the Copenhagen works is the well known blue fluted pattern, entirely painted by
hand in blue and simple in design, but notwithstanding the fact that a number of
English and other potters have produced a similar pattern from copper plates, there
is still a steady demand for the original " Royal Danish."

The Copenhagen factory was founded in 1772, by a chemist named Muller, and
a workman from the Fiirstenberg manufactory, but no great amount of success was
obtained, and to rescue it from the difficulties that threatened it, King Christian
VII. purchased it from the company incorporated by Muller. No notable success
followed, with the exception of the production of a finely executed set, now in the
royal castle at Rosenborg, decorated with specimens of the whole Danish flora and
known as " Flora Danica " (and which in recent years has been reproduced), until
their spirited reproduction in biscuit of many of the works of the celebrated Danish
sculptor, Thorvaldsen, which from their excellent modeling and general artistic
excellence at once placed the factory on a much higher plane than they had hitherto
occupied. But the sales were not equal to the great cost of production, and in
1867 the manufactory was sold to Mr. Falck, who in 1882 resold it to the limited
company " Aluminia," the owners of an extensive earthenware manufactory. The
continuation of the use of the original trade-mark was authorized, extensive addi-
tions were made to the factory and it entered on a new lease of life. Mr. Philip
Schou was intrusted with the administration, and he was fortunate enough to
secure the services of Mr. V. Engelhardt, a chemist, and of Mr. Arnold Krog, an
artist designated by Mr. Gamier, the Conservator of the Ceramic Museum of Sevres,
as of "undisputed talent and astonishing originality." Very decided advances
were quickly made, and after the Copenhagen Exhibition of 1888, Mr. Schou was
created a Knight Commander of the Legion of Honor. In the following year, again
quoting M. Garnier, "All lovers of fine arts cherish the memory of these porcelains
of such perfect manufacture, of a glaze so clear and soft, of forms so pure and del-
icate and of a decoration so simple and harmonious, whose distinction formed a
glaring contrast to the overloading of the discordant pictures and glittering gilding
of the neighbouring sections." And again in 1893, he says, " It was astonishing to
see the results obtained by these able artists who, in spite of the technical difficul-
ties and with only the three or four colors that can stand the temperature neces-
sary for the firing, have succeeded in producing works of indisputable value, in
which their individuality strongly asserts itself, works impregnated with a soft and
tender melancholy, as the ' Lilies at Night,' by G. Heilmann, powerful as 'The
Giant,' by Krog, or 4 The Crows,' by Mortensen, of a marvellous skill in the execu-
tion as 'The Setting Sun,' the 'Flight of the Sparrows' and 'The Lilacs,' by
Lisberg. ' '

These artistic productions so enthusiastically described by M. Garnier, were first
shown at the Paris Exhibition of 1889, and aroused something akin to a sensation
They are painted in " grand feu" colors, necessarily limited in number, but with
so much originality and in some cases absolute daring have the Copenhagen artists
treated their subjects, rivaling the best efforts of Japan, of which school there is a
faint suggestion, that an entirely new school in ceramics was created, which for indi-

ROUGH NOTES ON POTTERY.

viduality is only comparable with our own Rookwood. The Danish china is
unequaled in its body, whilst the glaze is so clear and tender as to suggest the
liquid depths of your sweetheart's eyes.

The trade-mark of the factory (Plate 2, fig. 22) is the three waved lines, repre-
senting the three Danish waters, the Sound and the two Belts. To meet Congres-
sional requirements, the word "Danemark" underneath a crown is added, this latter
a superfluity, as the productions require no insignia to attest their claim to be in
fact as well as in name — u Royal Danish."

Delft.

About the end of the 16th cen-
tury large quantities of pottery were
made at Delft in Holland. To imi-
tate Oriental ware the body was cov-
ered with an opaque white enamel,
on which the decoration was applied.
The best effects were in a deep rich
blue and the ablest artists of the times
were employed in their decoration.
The ware was remarkable for its
hardness and was very thin and
light. Polychrome decorations were
also applied, but these have generally little artistic value. A favorite pattern
applied to plates was an arrangement of peacock's feathers. Hexagonal vases,
beakers and copies of grotesque Japanese shapes were also made in large quantities.
The marks, plate 1, figs. 2, are probably those of two members of the Kulick
family. The manufacture began to decline towards the end of the 17th century,
and many Dutch workmen settled in London and there originated the manufacture
of what was first called "Delft ware." From London the manufacture drifted to
Liverpool and Staffordshire, and in England the word Delft is frequently used in
reference to almost any kind of pottery.*

The recent revival in this class of decoration is mainly due to Messrs. Thooft &
Labouchere, of Delft, who had a fine exhibit of it at the Chicago Exhibition. This
house alone as far as I am aware is the only one that has adhered to the original
methods of the old Dutch potters, their productions being in all details excel-
lent reproductions of the originals (Plate 2, fig. 30). Anton Mehlem of the Royal
Bonn factory also produces some very good pieces. Of their host of imitators, the
bulk of the goods offered are beneath criticism, all that made Delft valuable being
conspicuous by its absence. From this category exception must be made in favor of
Messrs. Boch freres, La Louviere Belgium (Plate 4, fig. 38) who have issued some excel-
lent pieces, and also to Villeroy & Boch, which latter though produced by a mechan-
ical process, are good both in drawing and color. Messrs. Boch's general mark is
plate 3, fig. 32.

* She with her apron wiped the plates, and as she rubbed the delft." '—Ingoldsby Legend,

ROYAL DANISH.

Tournay.

In 1751 Peterinck, a native of Lille, obtained the privilege of manufacturing
porcelain at Tournay. He engaged principally English workmen, and in 1759 the
town council decided to send for an English Jesuit priest at the expense of the
town, to convert them to the Roman Catholic religion. The bleu de roi produced
here equaled that of Sevres. (Plate 2, fig. 19). It is principally from this factory
that the imitations of Sevres emanate. The Paris workshops also produce them in
abundance.

Sweden.

"the land of the midnight sun."
rorstrand.

HE exhibitions of Philadelphia and Chicago first gave to the American pub-
lic an opportunity of becoming acquainted with the Swedish potteries,
through works as original and artistic as they were surprising.

The Rorstrand factory near Stockholm was established in 1727, under
the patronage of Baron Pierre Adlerfelt. The first director, Jean Wolf, and his
associate, Andre Nicholas Ferdinand, experienced great difficulties at the outset,
but later, under the direction of Conrad Hunger, who had worked as a decorator
at Meissen, the difficulties one by one disappeared and considerable progress was
made and they enjoyed a monopoly in the manufacture of faience and were privi-
leged to use the word Royal in connection with their title. In 1780, or soon after-
wards, the three Crowns of Sweden were adopted as a trade- mark (Plate 2, fig.
33) their distinguishing badge having hitherto been an abbreviation of the name
often followed by the date of manufacture (Plate 4, fig. 56).

The present high standing of the works is due in a great measure to the energy
and pluck of the present director, Mr. Robert Almstrom, who, from a very humble
position has, by dint of sheer hard work, unswerving integrity and precision of
judgment, raised himself not only to the position of director of the largest factory
in Sweden, but has fitted himself for the duties of Senator and as worthily
serves his country as he did his employers, in whatever capacity he was employed.
Such gifts as his country could bestow have been willingly showered on him, and
whether as a member of the City Council, of the Academy of Science or Director
of the Bank of Sweden, he invariably commands respect. He has been decorated
with the Cross of the Legion of Honor and with several Swedish orders.

At the time the management of the factory was placed in his hands about two
hundred workmen were employed, where now, in the new buildings erected under
his superintendence, over one thousand respond to the roll call.

The Rorstrand productions are so varied in character that it will only be possi-
ble to notice a few of them here. In pedestals and flower pots there is an almost

ROUGH NOTES ON POTTERY.

bewildering profusion, both of shapes and decorations, characterized no less by the
skilful modeling than by the harmonious color effects everywhere observable. Some
of these pedestals are so airy and delicate in form as to make us wonder how they
have retained their shape in the process of firing, but so excellent are the propor-
tions that they impress you with no feeling of distrust as to their strength. Beau-
tiful white creamy grounds, relieved in low tones of greens and browns mingled
with gold are particularly attractive. Some have the embossments penciled in dark
blue, whilst others are entirely covered with one tint of a rich, luscious glaze,
amongst which a beautifnl plum color deserves special mention. It is astonishing
that such rich and striking effects can be produced without sacrificing the quality
of either body or ^laze, both of which are evidently much harder and durable than
is usual in this class of goods. These goods alone are sufficient to establish the
Rorstrand factory in a very high position in the ceramic world.

In vases, quaint of shape, there is a
large variety, decorated with colored
glazes. A bottle with a long narrow neck,
in shades of blue varying from turquoise
to mazarine, forms an object lesson of
what these potters from " the land of the
midnight sun " are capable of producing.
It displays some color effects perfectly
indescribable.

In china there is a large variety of
plates, cups, chocolate jugs, etc., many of
them very simple in design, others of a
more ornate character. The body is thin
and extremely translucent.

Beer jugs and mugs in stoneware with
artistically executed incised designs, are
an important Rorstrand production, and
considering the short space of time they
have been on the market, have acquired
what must be a very gratifying popularity.

Some articles distinctly Swedish in
character are the Walhalla drinking horns,
which come in a variety of decorations,
one of the most pleasing being an old
ivory finish, relieved at the top with a
colored border. These horns, suggestive
of the mighty Odin and Thor, are sup-
ported by a gnome, a figure frequently
introduced in connection with other orna-
mental forms.

Huge mugs with groups of Swedish
peasants, illustrative of the work of Bell-
man, the Robert Burns of Sweden, and
cigar ash receivers, illustrating Swedish

CHINA AND JAPAN.

costumes, have a quaint originality all their own.

Many patterns of dinner ware, both in china and earthenware, are produced
of good design and finish.

Stralsund (Pomerania). A factory was founded here in 1731 by John Pasko-
witz, one of the best workmen of Rorstrand, and assumed some importance
in 1767 under the direction of D'Ehrenreich. It produced at that time a number
of important works, principally in blue.

Marieburg, in the environs of Stockholm, was the seat of a factory that attained
some distinction. It was founded in 1758, by Louis Ehrenreich, under the patron
age of Charles Frederic Scheffer, one of the richest and most influential men of the
Court of Sweden, who obtained for it the title of Royal Manufactory. The products
resembled those of Neiderwiller and Strasburg, and were justly esteemed. Many
of the decorations were flowers, leaves, etc., in relief. Some of the shapes, in
striving after originality became bizarre, such for instance as a soup tureen in the
shape of a bishop's mitre. In 1765 they adopted the English printing process. The
works were finally closed in 1780 and the stock sold at auction (Plate 4, fig. 57).

Gustafsburg. There is a large factory here giving employment to about 1,000
workmen, and making a large variety of goods. It was founded in 1827.

HERE seems no reason to doubt that pottery was made in China as early as

2697 B. C. The claim, however, as to the antiquity of hard porcelain is

* not borne out by the facts. The claim was based upon the discovery of
some small vases in Egypt made of hard porcelain and inscribed with Chinese char-
acters which were said to have been found in the tombs of Thebes, dating as early as
1800 B. C. But as these characters were found to be quotations from Chinese poets of
the 8th century, A.D., this fact was sufficient to demolish the theory. Hard porcelain
was probably first made during the Han dynasty, 206 B. C. to 25 A. D. It is made of
two substances pe-tun-tse and kaolin, the latter a white clay, derived from the
decomposition of felspathic rock. Pe-tun-tse resembles it, but with the addition of
a considerable proportion of free silica. The glaze is very hard and made almost
wholly of pure felspar. This is the natural porcelain, the glaze and body being
fired at the same time, the whole perfectly vitrified. Other natural porcelains are
those of Japan, Fiance, Dresden and Berlin.*

In Chinese porcelain, the earlier sorts were not decorated with paintings, but
were all of one rich color. The period from A. D. 265 to 419 is remarkable for its

* Mr. F. W. Rudler says : " The felspar of granite decomposes ; its alkaline silicate is removed and
the silicate of aluminum, with which it was associated remains behind in a hydrated condition. It is this
which constitutes kaolin or china clay. But if the decomposition of the granite is not complete, so that
the lelspar though altered still retains some of its alkaline silicate the product is known as pe-tun-tse,
or china stone. Now since the alkaline silicate is a very fusible substance, it follows that the china
stone yields a more fusible product than the china clay. Hence the use of the stone or pe-tun-tse, in
producing translucency, on in imparting to the porcelain naore or less of a vitreous character. Curi-
ously enough it is said now that we have always been wrong in our use of the two Chinese terms, that in
fact kaolin is used in China as a term for china stone and not for the clay: while the clay itself is
called pe-tun-tse. We have in fact reversed their original use."

China and Japan.

ROUGH NOTES ON POTTERY.

blue : 518 to 618 for its green, and 954 for a deep sky blue, and from the fact that
the ware was made extremely thin. Decorations do not appear to have been gen-
eral until about the end of the 12th century, and were brought to great perfection
under the Ming dynasty, 1368 to 1644. The celebrated Chinese crackle ware is
made by mixing steatite with the glaze, and the piece before firing is exposed to the
sun, which cause the glaze to craze. Ked pigment or black Chinese ink is then rubbed
into the cracks to accentuate them, and the piece is then fired. Enamels of great bril-
liancy and depth are employed, blue, yellow, red and celadon. The yellow is made
for the exclusive use of the Emperor. These peerless enamels are used both for
solid grounds and painting. In their treatment of flowers the Chinese are particu-
larly successful, but the decorations generally are feebly and poorly drawn and they
seem to have no conception of the forms of birds, animals and the human figure.
Nankin porcelain, painted in blue, with the hawthorn pattern, was exported largely
to Europe during the last century and now brings high prices. It is probably not
older than the 16th century and was made at King-te-tchin, the port of export
giving it its name. The Aster pattern was another very popular decoration in
blue, and when reproduced by Minton, in 1874, was an instantaneous success.

Amongst the curiosities of workmanship and evidences of the ingenuity of the
Chinese, may be mentioned the " grains of rice " pattern, in which the design is cut
in the body and filled in with glaze ; the delicate egg shell china of the 15th cen-
tury and the reticulated ware, consisting of an inner and outer shell, the outer
cunningly perforated in intricate patterns.

The principal seat of the pottery industry was from A. D. 583 at King-te-tchin,
and some idea of the extent of the manufacture may be gleaned from the fact
that in 1717 three thousand kilns were in operation. The town was sacked dur-
ing the Tae-ping revolution, and the factories destroyed. The town has since
been rebuilt and the industry restored. There are other factories at Canton,
Ningpo, Nankin and Pekin.

Grotesque and quaint shapes and decorations abound, but unmeaning as most of
them appear, they have all a real significance. The familiar Kylin is an animal
foretelling good. Its body is covered with scales and its branched head resembles
that of the dragon, whilst its four delicate feet are terminated by clovon hoof
resembling those of a stag. The Kylin is often confounded with the dog of Fo,
which has its feet armed with claws ; a grinning face with sharp teeth and a curly
mane, its general aspect being like a lion. The dog of Fo is the habitual defender
of the thresholds of temples and of Bhuddist altars. Dragons of all kinds and the
well known Sacred Horse frequently figure. The Fong-hoang, an immortal bird, only
approaches men to herald happy events. It is recognized by its carunculated head,
its neck surrounded with silky feathers and tail of pheasant and peacock. It was
adopted by the emperors as their symbol, but later the dragon was substituted and
the sacred bird became the emblem of the princesses. The imperial dragon is
armed with five claws.

Brief mention must be made of the celebrated porcelain tower of Nankin,
destroyed by the Tae-pings. It was built about 1403-1424 and was composed of
porcelain bricks enameled on their exterior face. The surroundings of the openings
were of porcelain, glazed with yellow and green, and ornamented in relief with
figures of dragons. It was over 200 feet high.

CHINA AND JAPAN.

Chaffers gives an excellent summary of Chinese marks and peculiarities of
decoration from which the following table is compiled :

Period or Manufacture. Date.
Acorus or acquatic plant, mark underneath, Kiun, A. D. 960-963

Two fishes " " . Long-thsiouen, 969-1106

Thin iron nail, on enamel vase, . . Iou-tcheon, 969-1106

Two lions and a ball, in centre of vase, . 1st quality Young-lo 1403-1425
Two mandarin ducks, centre of cups and bowls. 2d " " u 11 11

Cups with handles ornamented with red fish, Seouven-te 1426-1436

Fighting Crickets . . . . "

Hen and Chickens, . . . Tching-hoa 1 465-1487

Fighting Cock . . . . " " "

Grasshopper . . . . . " " 11

Tea tree branch, centre of white cup For Emperor. Chi-tsoung 1522-1566

Bamboo leaves and blue flowers. . King-te-tchin 1567-1619

Japanese pottery and porcelain is of a much later date than Chinese. A writer
in Chambers' Encyclopedia fixes it as early as 27 B. C, but this is undoubtedly
incorrect. A rough kind of pottery was no doubt made, but it was not until about
1230 A.D., that a Japanese potter went to China to improve his process, and the
introduction of glazed pottery in Japan was the result. Hard porcelain appears to
have been first made in the Province of Hazen, in 1513. The Japanese is a born
imitator, and one of the features of Japanese porcelain is its wonderful success in
imitating almost anything: wood, with its different grain ; ivory, brass, bronze,
basket work — anything. Most of the early productions were copied from the
Chinese, and the marks were also imitated, so as to make it difficult to distinguish
them. Satsuma ware was originally introduced from Corea, and was made at first
in a private factory belonging to the Prince of Satsuma. The most highly decorated
kinds were not made until the end of the eighteenth century. The body is a fine ivory
white clay, covered with minute crackled glaze, with minature paintings of birds
and flowers in brilliant enamel colors. Only modern Satsuma has figure decora-
tions. Most of the Satsuma now sold is a poor imitation, and is made in great
quantities at Awata, Ota, Yokohama, Kiota and Tokio. Nearly all their elaborate
and magnificent methods of ceramic decoration are of modern origin, as before the
present century the simpler methods of the Chinese were used. During the last cen-
tury large quantities of Japanese pottery were exported to Europe and frequently
copied by the artists at Dresden, Worcester, Chelsea, etc.

Japanese Cloissonne brings high prices, though its artistic merit is doubtful, the
writer of the article on pottery, in the Encyclopedia Britannica, characterizing it as
" a marvel of technical skill and wasted ingenuity." The pieces of brass which form
the pattern are set on edge, in what manner it is difficult to say, the compartments
are filled with enamel, and the whole fired in the usual way.

As a decorator the Japanese is unexcelled, and he will arrange a few flowers or
a bird in a charming way, which Europeans vainly strive to imitate. Many of the
distinctive features of Japanese pottery are fast disappearing, owing to the absurd
custom of sending over Western shapes and objects to be reproduced there.

ROUGH NOTES ON POTTERY.

A SINGLE piece of Rookwood pottery is an art education in itself. To take a
piece in your hand and feel its velvet softness, to look lovingly on the happy
blending of painting and glaze, is suggestive of a symphony — the music of
some half- forgotten dream. With artistic evidence of feeling, the designs
are suggested rather than displayed, and invariably they are in sympathy with the
shape of the vase decorated. There are no bizarre effects ; the greens, reds and
browns are clear and rich in tone, aided sometimes by the color of the body itself,
often by their own liquid depths ; apparently unfathomable. It is difficult to restrain
one's enthusiasm when writing of Eookwood. Only a poet could do it justice. It is
moreover a distinctly American production, the result of American brains and
energy, the capital for nearly a decade furnished by an American lady, Mrs. Bella-
my Storer. Its clays are from the Ohio valley, its artists recruited entirely — with
but one exception — from the Cincinnati Art School. Unlike artists in European
potteries, who are not allowed to sign their work until public appreciation wrings
permission from a reluctant employer, who has in view the glorification of his own
name, rather than that of the artist who has contributed so much towards it — the
Rookwood artists initial every piece of their work, and a list of these marks is gladly
furnished, and equally they share Rookwook's success.

When Mrs. Storer founded the Rookwood pottery — it was under a less preten-
tious roof then — the Rookwood ware of to-day had no existence even in her imagi-
nation. Something was to ba created, something that, above all, should possess
individuality, and be as much unlike existing pottery as possible. She and her asso-
ciates were in full sympathy ; they had all the same aspirations, and the nobility of
these were realized in the result. Founded in 1880, it was not until 1889 that the
works became self-supporting. The intervening years were, for the most part, years
of trial, of doubt and public apathy, but every kiln that was fired and drawn taught
some useful lesson ; taught more and more of the possibilities of applying a slip deco-
ration to the wet clay body. In all these years Mrs. Storer was sustained by the
unswerving faith of Mr. W. W. Taylor, her partner, an old and valued friend, and
upon her marriage she turned over her entire interest in the pottery to him. Since

ROOKWOOD.

1890 the Rookwood pottery has become a stock company of which Mr. Taylor in
President, and Mr. Bellamy Storer, Vice-President. Success after success followed
each other in rapid succession. Paris and Chicago accorded it all the honors they
could ; the Royal Industrial Art Museum of Berlin, and the historic factory at Sevres
sent for specimens : Mr. Binns, of the Worcester Porcelain Works, spoke of it as
" this most wonderful ceramic production," and envied America the possession of
it ; and it has been eulogized by the press of the entire country.

The Rookwood pottery has never used any mechanical means in the produc.
tion of designs, and, moreover, no two pieces are alike. Some few pieces are
moulded, but the bulk is thrown on the potter's wheel to accentuate its individuality
as much as possible.

Previous to 1886 the ware was usually stamped with the name in a variety of
forms, but, in this year, the mark on cover was adopted. A flame at the top
indicates 1887, and an additional flame marks each succeeding year.

Amelia B. Sprague. K. Shirayamadani. Constance A. Baker. Geneva Reed.

Note. — I had originally intended to include in this work some notice of American pottery, but,
during the last few years, the field has so greatly widened, the advance has been so marked, that I
found I could not do justice to the subject in the space at my command. I, therefore, arrived at the
conclusion that I could best serve American interests, both commercial and artistic, by devoting a book
entirely to "American Pottery," and, under that title, I have in preparation a work uniform in size
with "Rough Notes on Pottery." This article on Rookwood is inserted here as an illustration of the
interest connected with the subject. W. P. J.

HOUGH NOTES ON POTTERY.

The Process of Manufacture.

THE manufacture of pottery in its
various processes is one of the most
interesting and beautiful of all the
industrial arts. It has been described
over and over again, sometimes with
a measure of appreciation, but more
frequently with ludicrous mistakes as j
misleading as they are imaginative.
The potter's wheel has a history equal
to that of civilization ; it has given us
the best thoughts of the Greeks; it
has inspired one of our noblest poets.
It is alike a symbol of creative power,
no less than of evolution. After an
existence of thousands of years it
seems likely to be relegated to desue-
tude by a horizontal revolving disc,
eminently practicable, and known by
the unpoetical name of the "jolly."
Clay alone is by no means the sole
ingredient of Pottery. Hard porce-
lain is the simplest form and contains
but two substances, china clay and
china stone. If you took a block of felspar and carved it into the semblance of a
cup, the same as the Chinese do jade, you would only obtain the same result that the
potter for a few cents supplies you with. Nature has decomposed the material; fire
restores its lost properties.

Other varieties require a large number of ingredients. Some of the principal
ones are china clay to give purity ; ball clay to give plasticity and which is used as
a base; flint to whiten and make porous ; felspar to consolidate and close the pores
like a glue, and bones or phosphate of lime to increase the translucency. It is
apparent that the potter must have a thorough chemical knowledge of these ingre-
dients. He must know exactly how one will act on the other so as to produce a
perfectly homogeneous whole. The glaze must be in perfect agreement with the
body, the firing must be carried up to but not beyond a certain point, or all
his efforts are in vain, and the glaze will peel off at the edge or quickly craze.
Crazed ware can be made apparently good by refiring, but the crazing is certain to
re-appear. But knowing these things, he carefully weighs each material and puts
them together in a circular tank called a blunger. In the centre is an upright shaft
with a number of arms which are kept constantly in motion until the whole mass
is, with the addition of water, reduced to the consistency of cream. It is then known
as " slip." This mixture is run off into another tank called an agitator, where it is
not allowed to settle. It is strained through a thick bolting cloth into another tank
connected by a trough in which are placed a number of powerful magnets, so as to
extract particles of iron that may have passed through the lawn.

THE PROCESS OF MANUFACTURE.

To separate the water from the clay the mixture is forced into a filter press,
but it is still full of air-holes and must go to the pug mill. This is an upright
cylinder, a little larger at the top than at the bottom, with an outlet at the lower
part. In the centre of the cylinder is an upright revolving shaft to which knives
are attached, which cut and mix the clay thoroughly and drive out the air-bubbles
by being forced through a small aperture, and it is now ready for the potter. This
last process was formerly done by men trampling the clay under foot, and is still
practiced in France when an extra quality of body is required. The clay is now
cut into pieces., weighed and passed to the thrower, who places it on his wheel, and
under his skilful manipulation assumes the desired shape, the clay revolving rap-
idly, seemingly endowed with life and following the slightest change of his hands.
Should the wheel have been superseded by the jolly, a thin bat of clay is placed in

Clay Presses.

a mould which is put on the jolly, and whilst rapidly revolving the workman
presses a tool of proper form, which is attached to an iron lever called a " pull-
down," on it to shape the back of the plate or dish or the inside of the cup or
bowl. The mould is taken away and placed to dry. Being made of plaster of
Paris it absorbs the water in the clay, the article dries and shrinks proportionately
and is easily removed. Cups, etc. , are passed on to the turner who rounds the tops
and smoothes them with a flat steel tool. Hollow pieces which, from their shape,
can neither be thrown on an ordinary wheel nor jollied, such as cover dishes and
tureens, are made by clay being pressed into a mould made in two or more sections
and are called pressed goods. Each section of the mould is lined with a bat of
clay, which is carefully smoothed with a sponge and a hard piece of rubber. The
sections are then fitted together and held in position with a leather strap. A roll
of clay is placed on the outside seams and the mould is put away to dry. Handles
are moulded separately and fixed on by dipping the ends in slip. When the piece

ROUGH NOTES ON POTTERY.

is taken from the mould the seams are rubbed down and it is put in the green-room
for further drying until it is ready for the oven. Pottery ovens are built of red
brick and lined with fire brick and are about sixteen feet inside diameter and six-
teen feet to the roof or crown, above which the oven rises to a sufficient height to
give draught to the fires. Around the base are the ten or twelve furnace openings
which connect with the flues built under the floor and around the walls of the oven.
The ware before being placed in the oven is arranged in saggars, a sort of box of
irregular shape made of common clay. White sand is used in which to bed the pieces.
When the saggar is filled a roll of clay is placed on its edge to exclude the dust and
smoke, another saggar is placed on the top of it and the operation repeated until a tier
or bung reaches the top of the oven. When the oven is filled with saggars the open-
ing is bricked up and plastered with clay mortar. The firing then commences and

The Jolly.

lasts about forty-eight hours, and a heat of about 3000° Fahrenheit is reached. The
fires are allowed to die away and after cooling for about three days, the ware is
taken out. This is called " drawing " the oven, and the ware has now passed from
the " green" to the " biscuit " state. During the firing the ware has shrunk in
size considerably. Parian shrinks the most, about one-third; ordinary earthenware
about one-eighth to one-twelfth. This shrinkage increases the harder the ware is
fired. Parian and other groups must have some of their parts propped in the oven
to ensure them retaining their shape and these props must be made of the same
body so that the shrinkage of the group and the props may be exactly propor-
tionate.

Having reached the biscuit state the ware is now ready for decorating or glaz-
ing. In case it is to receive an underglaze decoration, it passes to the artist to
paint on it whatever his fancy dictates or to the printer. For dinner, tea and toilet
ware the copper-plate process is extensively used. The design is engraved on a

THE PROCESS OF MANUFACTURE.

copper-plate, which is charged with specially prepared color by the printer and an
impression on tissue-paper is taken from it. This is handed to a cutter who clips

Turning.

away the superfluous paper and passes it on to the transferrer, who places it in the
required position on the ware and rubs it with flannel until it adheres properly.
The paper is soaked off by immersion in water and it is then sent to the "harden-
ing-on ' ' kiln, to remove the oil with which the color is mixed before it is ready for
glazing. The dipper, standing by a tub filled with glaze, takes a piece in his hand,
immerses it in the liquid and hands it to a boy who places it on a board. It is then

Firing. Bas-relief from Wedgwood Memorial Institute.

taken to the "glost" oven. Great care has to be taken in placing the ware for
this firing, and small triangular pieces called stilts and spurs are used to prevent
the pieces touching each other. This firing occupies about twenty-four hours.
Should the ware require gilding it is taken to the. workshop and the gold applied
and it is then fired for six or seven hours in an enamel kiln. These printed deeo-

100

ROUGH NOTES ON POTTERY.

rations can be applied either on or under the glaze. The former method prevails in
England and the latter in this country. You have noticed in some dark blue patterns

a beautifully soft effect caused by
the flowing of the color. This is pro-
duced by placing in the oven a small
quantity of "flow," consisting of salt
petre, borax and lead, the heated
fumes of which, rising in the oven,
cause the blue to flow. Some pieces
of this ware are stained with blue on
the underneath, and it is popularly
supposed that the color has gone
through the plate. This is an error,
the stain being caused by the color
on the plate underneath "jumping"
as it is termed.

In making hard porcelain the
glaze requires the hardest fire. A
French oven is divided in two
stories. The bottom, and conse-
quently the hottest chamber, is
filled with glazed ware, whilst the
superfluous heat passing into the
upper chamber is all that is required
Cagtiu(r to fire the green ware.

Casting is described in the article on
"Belleek." Most of the rich decora-
tions on china, both French and Eng-
lish, aie applied on the glaze, as many
of the delicate colors fuse at a low heat
and would be altogether destroyed if
subjected to the heat of the glost oven.

The modeler, the mould maker
and the engraver are all important per-
sonages in a fully equipped modern pot-
tery, but their names are sufficiently
suggestive without particularizing them
more fully.

Just a word as to the sizes of some of
the more staple pieces in earthenware.
To facilitate the count, a workman is
paid by the dozen, but this dozen varies
from one piece to sixty. For instance,
the bowl maker receives exactly the
same price for making one very large
bowl as he does for sixty small ones.

{For the illustrations of Filter-Press, the Jolly and Turning, 1
courtesy of The Potters'1 Co-operative Co. , East Liverpool.)

am indebted to the

BESTS, SECONDS AND THIRDS.

101

Bests, Seconds and Thirds.

REGARDING the earthenware of Persia, it is of interest to remark that it
formed one of the principal articles of export to India, in the 17th century,
when Chardin visited both of these countries. Chardin relates that the
Dutch traders were in the habit of sending Persian earthenwares to Europe,
and there passing them off as Chinese. It would appear that the manufacture of
earthenware was carried on in Persia on such a large scale in the 17th century as to
furnish a notable staple of the foreign commerce of the country ; and also that a
degree of excellence had by that time been attained, which enabled Persia to rival
China in the markets of Europe. It would be a curious problem to trace through
the Moors of Spain, and the potters of Delft, the unconscious influence of Persia on
the ceramic art of modern Europe as developed in Dresden, Sevres, and Stafford-
shire." From " Persian Art," by Major R. Murdoch Smith.

* *

The Portland vase was found during the pontificate of Urban VIII (Barber-
ini), between the years 1623 and 1644, by some laborers, who, while dig-
ging at a place called Monte del Grano, about three miles from Rome, on the
road to Frascati, discovered a vault, which on being opened was found to be a
sepulchral chamber, inclosing a sarcophagus of fine workmanship, and within this
the vase in question, containing ashes. There was no inscription to give any light

with respect to the person whose remains were depos-
ited in the Sepulchre. The sarcophagus was placed in
the museum of the Capitol, the vase was deposited in the
library of the Barberini family, and continued for above
a century to be one of the most admired pieces in that
celebrated collection ; it was generally distinguished by
the name of the Barberini vase. After the dispersion of
this library, the vase was purchased at Rome by Sir
William Hamilton, by whom it was disposed of to the
Duchess of Portland ; at the sale of her Grace's valuable
museum in 1786 the vase was purchased by the Duke of
Portland for about 1,000 guineas.

Josiah Wedgwood borrowed the vase in 1786, from
the Duke of Portland, to copy. It took him four years
to make a perfect copy, having to discover a body suitable and in close imitation
of the original.

■* •* ■*

" The potters of Yezd once sent, as a challenge to the potters of Isaphan, a
porcelain vase which held twelve pounds of water and only weighed one miscal.
The potters of Isaphan sent to Yezd in return a vase of the same size and shape
which only held one miscal of water and weighed twelve pounds. ' ' Persian Art.

Holcroft the author of Road to Ruin, was a hawker of pottery.

* #• *

There is more china clay used in the adulteration of fabrics, than in the
manufacture of china.

102

ROUGH NOTES ON POTTERY.

List of Works of Reference on Pottery.

Ancient Pottery. Birch. 1873.

Wedgwood and his works. Meteyard. 1873.

Life of Wedgwood. Jewett. 1865.

Ceramic Art of Great Britain. Jewett. 1877.

The Best and Most Complete Work on English Pottery.
Pottery and Porcelain. Marry att. 1868.
Handbook of Marks and Monograms. Chaffers. 1874.
Palissy the Potter. Prof. Morley.
Josiah Wedgwood. Samuel Smiles. Harpers. 1895.

Two Biographies Everyone Interested in Pottery Should Bead.
Ceramic Art of Japan. Audsley and Bowes. 1875-80.
Traite des Arts Ceramaiques. Brongniart. 1854.
Potting in Worcester. Binns. 1877.

French Pottery, (In the South Kensington Museum). Gasnault and Gamier. 1884.
The Ceramic Art. Miss Young. Harpers. 1879.

A General History of Pottery. Prehistoric, Oriental and Haviland
faience the Leading Features.
China Collecting in America. Miss Earle. Scribners. 1892.
The China Hunter's Club. Harpers. 1879.

Both Very Interesting to American Collectors and Containing Much New
Matter respecting English Pottery.
Pottery and Porcelain of all Times and Nations. W. C. Prime. Harpers.

A Standard Text Book.
The Art of the Old English Potter. M. Solon. Appleton.
Maiolica and Fayence. Beckwith.
Majolica. C. Drury E. Fortnum. F. S. A.

The Pottery and Porcelain of the United States. Dr. E. A. Barber.
Dictionary of Ceramics. Garnier. G. P. Putnam Sons, N. Y.
English Porcelain. A. H. Church, F. R. S. 1894.
" Earthenware " " 1894.

A DEDICATION
usually precedes the contents of a book,
but I prefer to place it here
as my last thoughts always are and always will be
of the generous assistance and kindly words of encouragement
so freely given by
Merrick Whitcomb, Esq., Pennsylvania University,
Messrs. F. P. Abbot and J. J. Miller, New York,
and my brother
Frederic Seely Jervis, Springfield, Mass.
to all of whom my heartiest thanks are due.
W. P. JERVIS.

MARKS AND MONOGRAMS.

103

MARKS AND MONOGRAMS.

(Where the Trade Mark includes the Name of the Manufacturer it is not repeated here.)

Plate 2. 1, Gerard, Dufraisseix & Cie. 2, 3, Delinieres & Cie. 4, M. Redon. 5, W. Guerin & Cie.

6, Haviland & Co. 7, J. Pouyat. 13, Bishop & Stonier. 14, Geo. Jones & Sons. 15, E. J. Bodley.
17, E. Astbury. 19, Peterinek. 21, C. Krister. 22, Danish. 25, J. Maddock & Sons (Hotel ware).
27, W. Adderley. 29, Brown- Westhead Moore & Co. 30, J. Thooft & Labouchere. 31, G. Grainger
& Co. 35, E. J. Ridgway. 36, Ridgway, Sparks & Ridgway. 37, Darnheim, Koch & Fischer. 40,
Triebner Ens & Eckert. 41, Ludwig Wessell. 42, Fischer & Meig. 43, J. Von Schwarz. 44 to 47,
Villeroy & Boch. 50, Tressemanes & Vogt.

Plate 3. 1 and 3, J. Ridgway. 2, J. & W. Ridgway. 4, Brown-Westhead Moore & Co. 5, Worcester.

7, W. Ridgway. 8, Ridgway & Abington. 9, Edge Malkin & Co 11, Bates Walker & Co. 18, J.
Wedgwood & Sons. 23, Faience d'Oiron. 24, Podmore Walker & Co. 25, J. Beech. 30 and 31,
Belleek. 33 and 34, Utzchneider & Cie. 35, H. Boulanger & Cie. 36, A. Lanternier. 37-9, Keller &
Guerin. 40, F. A. Mehlem. 41, Cantagelli. 42-3, New York & Rudolstadt Pottery Co.

Plate 4. 1, Hochat. 2, Frankenthal. 3 Furstenburg. 4, Kronenburg. 5. Ludwigsburg. 6, Ginori.
9, Berlin, (a) white; {b) decorated; (c) not sold in white ; (d) 1850 10, Coalport. 11, Stevenson.
12, Pennington. 13, Case, Mort & Co. 14, Herculaneum. 15, Danish, 1772. 19, Minton. 21, Rouen.
24, Septonfontaines. 25, Mettlach. 26, Mennecy. 27, Bourg la Reine. 28, Sceaux. 29, Orleans.
30, La Courtille. SI, Niederwiller. 32-3, Clagnincourt. 34, Due d'Angouleme. 35, Pont aux Choux.
36, St. Cloud. 37, Caffaggiolo. 38, Boch Freres. 39, Brameld. 40, Urbino. 41, Sincenny. 42-3,
Lille. 44, Aprey. 46, Bordeaux. 47, Meissen. 48, Sceaux. 49, Savy. 50, Robert. 51, Perrin. 52,
Niederwiller. 53, St. Amand. 54, Fouque (Moustiers). 55, Robertson. 56, Rorstrand 57, Stral-
sund. 58 Castel Durante.

Importers Marks. 1, Bawo & Dotter. 2, Chas. Ahrenfeldt & Co. 3, The Strobel Wilkins Co. 4,
P. H, Leonard. 5, Lazarus, Rosenfeld & Lehman (Victoria and Empire Works). 6, C. L. Dwenger.

Marks on the Cover. 1, Sevres. 2, Gerard, Dufraisseix & Co. 3, Brown-Westhead Moore & Co.
4, John Maddock & Sons, Ltd. 5, Rookwood. 6, Rorstrand. 7, Tressemanes & Vogt.

Plate I

/f£i-/aoo Hook 1 807-/3

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ADVERTISEMENTS. 105

Nearly a Century Old

180©

FABRIQUE FONDEE EN 1797.

E* Gerard, Dufraisseix & Ge,

SUCCESSEURS:

The Ch. Field Haviland

LIMOGES CHINA

DECORATED WHITE WARE

CFH

is marked

TRADE MARK. TRADE MARK.

Haviland & Abbot,

29 Barclay Street, . ♦ ♦ New York,

ADVERTISEMENTS.

107

**4 NC^

THESE MARKS

French China j0C

MEAN 2^

STANDARD OF MERIT ^NC^'

ASK YOUR DEALER
TO SHOW YOU TH

e line of New Shapes and New Decorations

MADE BY

CttflRLE-T /IttRENFELDT & SOU

MANUFACTURERS AND IMPORTERS

50, 52 and 54 MURRAY ST., NEW YORK

Views of Old Boston Souvenir China

Jones, McDuffee & Stratton Co.

have acquired the etchings by Blaney, engraved for Josiah W edgwood & S^ns, Etruria, many of the
historical buildings of Boston (and elsewhere), most of which have been copyrighted, and printed in
old blue (under glaze). Among the scenes are Faneuil Hall, the State House Bulfinch Front, the Old
South Church, the Old North Church from which Paul Revere hung out the lanterns in 1775 ; The Lamb
Tavern, 1845, present site of The Adams House; The Old Federal Street Theatre, The Adams Lean-to
House, Quincy, Mass., in each of which a president of the U. S. was born; Boston in 1768, Mt. Vernon,
Longfellow's Home and others. Price, 50 cents each.

Visitors will find an extensive exhibit of the best products of the English, French, German, Chi-
nese, Japanese and American Potterie and Glass Houses, in the Dinner Set Department, the Glass-
work Department and the Art Pottery sooms. The stock occupies seven floors and ten thousand bins.

Jones, McDuffee & Stratton Co., Pottery and Glass Merchants,
wholesale and retail 120 Franklin Street, Boston, Mass.

Mikael Samuel S. M. Harris

"The Land of the Midnight Sun."

Swedish and Norwegian Pottery, ¥\ ORSTRAND
Glass, Metal and Art Ware II POTTERY

Agency for United States, Canada and West Indies

AViK&e! 5&rr)U*l & Co.

38 Park Place, New York

^ VOGT & DOSE ^

43 Barclay Street, New York

SOLE AGENTS OF

TRESSEM AN ES A. VOGT IMPORTERS OF

LIMOGES, FRANCE

Decorated and White

French China

We carry the largest assortment in New York of French White China for Amateur Decorators, includ-
ing: novelties from all the principal manufactories.

ADVERTISEMENTS.

109

ARTHUR TRUE

39 East Twenty-Eighth Street

EXHIBITION AND

PRIVATE SALE OF ANTIQUES

NEW YORK

The Largest Collection
in the Country of

American Historical Blue Plates

Correspondence Invited

For Sale at Reasonable Prices

OLD FURNITURE, OLD PRINTS, PAINTINGS, and CURIOS

■* MERCANTILE it
Photograph & Engrav*ng G°*

Chas. W. Smith, Proprietor

M Park Place, New York

Photo-Engraving in Line and Half-Tone

Read

OHN MADDOCK
& SONS, Ltd.

On Page ) and 2 J- N°TICE

To Jewelers - "

China Dealers, Etc.

ARTISTIC POTTERY

REQUIRES

Artistic J^dv^rtijiog

Specially prepared copyright designs on sin-
gle and double cards, beautifully executed, with
space for your business address, now ready —
only one customer in a town supplied. Send
for sample. The cost is very little more than
an ordinary business card.

w\ P. JERVIS

62 James Street NEWARK, N. J.

Chas. L. Dwenger

J> IMPORTER J>

35 and 37 PARK PLACE
NEW YORK

"A. K." French China

"White and Decorated

"Love
me
Love
my

DOG

Ask tKm

SPRATT'S Patent, Ltd.

245 E. 56th Street

NEW YORK

to send you their free
catalogue of dog and

POULTRY

foods, etc., with hints
on feeding, care, etc. '

* 5

> ??

-r_±_T-t-

Spode -gMa-

CO^ELANO-

1 WW

C, i»oru

23. |
(MEISSEN)

•• DV

oC O

Jtbi i

•h>0 is®

So i-

' IT .

jp. - e

jf *± 6g

ADVERTISEMENTS.

Ill

I^OSCHERAK BROS,

47 MURRAY STREET

New York

Importers of . • .

HIGH-GRADE BOHEMIAN, FRENCH
CRYSTAL AND DECORATED & ^

^ Q.LA3SWARE

** "^^"lth whatCVCr disdain the collector of Dresden and Sevres may now look down
on the blue-printed crockeries of Clews and Wood and Ridgway, the
day will come when Ceramic specimens of our first steamships, our first
. railways, the portraits of our distinguished statesmen, soldiers and

4tR sailors, the openings of our canals, the various events of our wars, will
v^5^ rank in historical collections with the vases of Greece. And whatever
then be the estimate of the art they exemplify, men will say, "These
show the tastes, these illustrate the home life of the men and women who
were the founders and rulers of the American Republic." — IV. C. Prime.

English Potters

and American History

CARLY in the present century both Staffordshire and Liverpool sent
us vast quantities of printed earthenware with subjects relating to
our heroes, our statesmen and our country. To describe these fully with
historical, biographical or descriptive notes, carefully compiled from the
most authentic sources, so that "English Potters and American History,"
may become the recognized text book on the subject, is the aim of
the author.

Especial attention will be given to the Illustrations, and over one
hundred subjects have already been selected, which will be produced of
such a size as to render perfectly all details.

Collectors
owning rare
subj ects are
earnestly re-
quested to . . .
place them-
selves in com-
munication
with me.

WILL. BE READY Iff TIA\E
FOR THE HOLIDAYS

Handsomely Bound, Price $2*=

W. P. JERVIS, 62 James Street

NEWARK, IM. J.

THE NEOSTYLE DUPLICATOR

ENABLES ANY BOY TO TAKE 2,000 COpiCS FR0M ONE ORIGINAL^

& 1? WRITING OR TYPEWRITING & &

OVER 100,000 IN DAILY ■■

NEOSTYLE CO,, 96-102 Church Street, New York

112

ADVERTISEMENTS.

American

Excelste

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Before you purchase a Bicycle
call at our Factory ...

19 Essex Street

between James and Orange Sts.

NEWARK, N. J.

HOWARD A. SA\ITH €r CO.

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